iE  GREAT 
ARTISTS 


REMBRANDT 
VAN  RYN 


mm 


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in  2015 


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ILL  US  TRA  TED  ‘BIO  GRA  PHIES  OF 
THE  GREAT  CHRTISTS . 

REMBRANDT  HERMANSZOON 
VAN  RYN. 


ILLUSTRATED  BIOGRAPHIES  OF 
THE  GREAT  ARTISTS. 

The  following  volumes , each  illustrated  with  from  14  to  20  Engravings , 
are  noiv  ready , price  3 s.  6d. : — 

ITALIAN ; <Srv. 

Y GIOTTO.  By  Harry  Quilter,  M.A.,  Trinity  College,  Cambridge. 

(/  FRA  ANGELICO.  By  Catherine  Mary  Phillimore. 

FRA  BARTOLOMMEO.  By  Leader  Scott. 

\/  MANTEGNA  and  FRANCIA.  By  Julia  Cartwright. 

/ LEONARDO  DA  VINCI.  By  Dr.  J.  Paul  Richter. 
f MICHELANGELO.  By  Charles  Clement. 

/ RAPHAEL.  From  J.  D.  Passavant.  By  N.  D’Anvers. 

/"TITIAN.  By  Richard  Ford  Heath,  M.A.,  Oxford. 

/ TINTORETTO.  By  W.  Roscoe  Osler.  From  researches  at  Venice. 
VELAZQUEZ.  By  Edwin  Stowe,  B.A.,  Oxford. 

VERNET  and  DELAROCHE.  By  J.  Ruutz  Rees.  // 

TEUTONIC. 

/ ALBRECLIT  DURER.  By  Richard  Ford  Heath,  M.A.,  Oxford. 
sf  HOLBEIN.  From  Dr.  A.  Woltmann.  By  Joseph  Cundall. 

\f  THE  LITTLE  MASTERS  of  GERMANY.1  By  W.  B.  Scott. 

Y REMBRANDT.  From  Charles  Vosmaer.  By  J.  W.  Mollett,  B.A. 

/ RUBENS.  By  C.  W.  Kett,  M.A.,  Oxford. 

/ VAN  DYCK  and  HALS.  By  Percy  R.  Head,  Lincoln  College,  Oxford, 
y FIGURE  PAINTERS  of  HOLLAND.  By  Lord  Ronald  Gower,  F.S.A 

ENGLISH. 

/ HOGARTH.  By  Austin  Dobson. 

Y REYNOLDS.  By  F.  S.  Pulling,  M.A.,  Oxford. 

GAINSBOROUGH.  By  G.  M.  Brock-Arnold,  M.A.,  Oxford. 
TURNER.  By  W.  Cosmo  Monkhouse. 

Y WILKIE.  By  J.  W.  Mollett,  B.A.,  Brasenose  College,  Oxford. 

Y LANDSEER.  By  Frederic  G.  Stephens. 


1 An  Edtion  de Luxe,  containing  14  extra  plaies  from  rare  engravings  in  the 
British  Museum,  and  bound  in  Roxburgh  style,  may  be  had,  price  iol  6d. 


t i 
LL 
2* 


■ 


REMBRANDT  VAN  RYN. 


From  the  etching  by  himself. 


“ The  whole  world  without  Art  would  he  one  great  wilderness? 


REMBRANDT 


BY  JOHN  W.  MOL  LETT,  B.  A., 

OFFICIER  DE  L’lNSTRUCTION  PUBLIQUE 
(FRANCE). 


NEW  EDITION. 

NEW  YORK: 

SCRIBNER  AND  WELFORD. 


LONDON : 

SAMPSON  LOW,  MARSTON,  SEARLE,  & RIVINGTON. 

1882. 


(All  rights  reserved .) 


London:  r.  clay,  sons,  and  tayi.or, 

BREAD  STREET  HILL,  E.C. 


PREFACE. 


HE  work  of  M.  Yosmaer,  from  which  the  substance 


of  the  following  treatise  has  been  taken,  is  not  only 
an  exhaustive  recapitulation  of  all  that  deserves  notice  in 
the  writings  of  previous  biographers  and  critics  of  Rem- 
brandt, it  is  a perfect  systematic  exposition  of  a theory 
that  the  biographer  has  worked  out,  of  the  cardinal  im- 
portance of  his  subject. 

He  commences  his  task  by  gathering  together  for  com- 
parison all  the  influences  of  time,  place,  and  circumstance 
of  which,  he  maintains,  the  peculiar  genius  of  Rembrandt 
was  the  outcome.  Influences  local,  political,  social,  and 
atmospheric,  are  analyzed  with  regard  to  their  combination 
in  the  artist.  Previous  revolutions  in  art  are  laboriously 
traced  back  to  their  sources,  and  forward  to  their  share  in 
the  production  of  the  school  that  produced  Rembrandt,  so 
that  when  we  are  brought  at  last  to  the  history  of  the  man 
and  his  work,  we  seem  to  have  acquired  a prophetic  knowr 
ledge  of  both,  and  to  be  able  by  our  complete  oversight  of 


VI 


PREFACE. 


the  past  to  anticipate  the  character  of  his  life  and  mission 
in  art. 

The  treatment  of  the  actual  biography  is  not  less  scien- 
tifically systematic.  The  life  of  Rembrandt  is  touched  upon 
only  in  its  relation  to,  or  as  it  is  illustrated  by  his  works. 
Rembrandt  was  so  indefatigable,  unceasing  a worker  that 
this  is  not  difficult.  The  works  themselves,  ranged  in 
order  of  date,  are  explained  to  be  illustrative  each  of  its 
period,  and  to  emanate  naturally  each  from  its  predecessor 
in  the  same  way  as  it  leads  on  to  its  successors,  just  as  the 
painters  did  who  lived  and  worked  before,  as  the  uncon- 
scious harbingers  of  the  great  culminating  master.  Vos- 
maer  himself  uses  a figure  which  explains  this  theory  when 
he  says  that  the  predecessors  of  Rembrandt  may  be  ranged 
along  the  radii  of  concentric  circles  of  which  he  is  the 
luminous  centre. 

A history  of  the  school  of  art  radiating  in  the  same 
manner  onwards  from  Rembrandt  would  be  equally  in- 
teresting. 

The  reduction  into  a small  compass  of  Yosmaer’s  “totum 
teres  atque  rotnndum,”  is  a task  that  differs  widely  from 
that  of  merely  extracting  from  the  work  of  an  ordinary 
biographer  the  chief  heads  of  interest.  To  retain  the 
whole  argument,  selecting  details  for  omission,  and  to 
reduce  the  treatise  to  the  few  pages  it  now  consists  of, 
without  destroying  the  chain  here  and  there,  has  been  im- 
possible ; but  the  imperfect  result  must  be  read,  like  a 
compendious  text-book  of  a science,  with  a constant  recol- 


PREFACE. 


Yll 


lection  tliat  each  illustration  deserves  to  be  amplified,  and 
the  whole  merely  provides,  as  it  were,  pegs  to  hang  addi- 
tional congruous  matter  upon. 

A number  of  false  reports  and  legends  are  dissipated  by 
Yosmaer’s  accuracy  of  detail,  and  especially  he  has  aimed 
at  clearing  the  reputation  of  the  Master  from  the  reproach 
of  sordid  avarice  and  vice  that  some  of  his  biographers  have 
attached  to  him.  He  has  given  their  proper  prominence 
to  Rembrandt’s  indefatigable  industry  and  passionate  de- 
votion to  his  art,  and  to  his  longing  to  collect  round  him 
other  men’s  works,  and  his  magnificence  in  the  acquisition 
of  art  objects,  indicating  aesthetic  appreciations  far  in  ad- 
vance of  his  rank  and  period. 

The  treatise  should  be  read  with  constant  reference  to 
the  chronological  tables  at  the  end  of  the  book.  In  follow- 
ing Yosmaer’s  system  these  will  admirably  correct  any 
1 apses  dnrthe  argument  arising,  in  spite  of  all  care  to  the 
contrary,  in  the  process  of  condensation. 

The  limits  of  the  work  have  not  permitted  enough  to  be 
said  of  Rembrandt’s  activity  as  a painter  of  landscape,  but 
as  this  part  of  his  art  life  is  regarded  by  Yosmaer  as  dis- 
tinct from  the  general  story  of  his  progress,  and  is  treated 
in  a chapter  by  itself,  and  not  brought  into  the  chrono- 
logical narrative,  its  absence  does  not  destroy  the  con- 
tinuity of  the  history.  An  interesting  light  that  it  would 
have  thrown  upon  Rembrandt’s  personal  history  is  the  de- 
scription it  involves  of  his  sketching-tours  in  Holland  and 
his  habit  of  incessant  watchfulness,  as  he  walked  on,  sketch- 


VU1 


PREFACE. 


book  in  hand,  to  record  with  the  wonderful  facility  that  he 
alone  possessed  everything  that  interested  him  in  Nature. 

But  Rembrandt’s  fidelity  and  devotion  to  Nature  are  the 
key-note  of  the  whole  work,  and  it  is  in  virtue  of  this 
quality  of  truth  and  love,  combined  as  it  was  with  un- 
paralleled power  and  untiring  industry,  that  his  biographer 
regards  him  as  the  greatest  and  most  admirable  of  painters. 

J.  W.  M. 

March,  1879. 


Note  to  Page  74. 

In  1853,  Dr.  Scheltema  published  his  Redcvoering  over  het  leven  van 
Rembrand  van  Rijn,  in  which  he  gave  an  extract  from  the  doodboeJc  of 
the  Westerkerk,  at  Amsterdam,  which  tended  to  show  that  Rembrandt 
mari'-ed  a third  wife,  Catharina  Van  Wijck.  It  has  since  been  dis- 
covered that  the  entry  refers  to  a man  whose  death  is  recorded  imme- 
diately after  that  of  Rembrandt.  (See  Athenaeum,  October  29,  1881.) 

On  p.  80,  omit — Married  Catharina  van  Wijck  ....  1605. 


CONTENTS. 

CHAPTER  I. 

PAGE 

City  of  Leyden — Rembrandt’s  Birth,  1607 — The  Dutch  Republic 


— Rembrandt  at  School— Placed  with  Jacob  van  Swanenburgh 
— Visits  Amsterdam  ........  1 

CHAPTER  II. 

The  Precursors  of  Rembrandt,  Vroom,  Mirevelt,  Ravesteyn,  Last- 

man,  Pinas,  Frans  Hals,  and  others  . . . . . 10 

CHAPTER  III. 

Amsterdam  in  1630 — The  ‘ Simeon  in  the  Temple’ — Dr.  Claes 
Pietersz  Tulp — The  ‘ Lesson  on  Anatomy  ’ — Paintings  and 
Etchings  from  1630  to  1633  18 

CHAPTER  IV. 


Saskia  van  Ulenburgk — Rembrandt’s  Marriage — Portraits  of 
Saskia — Lawsuits — Death  of  Rembrandt’s  Mother — The 
4 Sortie  of  the  Banning  Cock  Company  ’ — Paintings  and 
Etchings  from  1634  to  1642  27 

CHAPTER  V. 

Rembrandt’s  Home — His  Art  Collections — Death  of  Saskia — 

Paintings  and  Etchings  from  1643  to  1646  ....  46 

CHAPTER  VI. 

dan  Six,  Burgomaster  of  Amsterdam— Portraits  of  ‘Jan  Six’ — 
‘Ephraim  Bonus’— The  ‘Hundred  Guilder  Print’ — ‘Jesus 
presented  to  the  People  ’ — Paintings  and  Etchings,  1 647  to 
1658  


57 


CONTENTS. 


CHAPTER  VII. 


PAGE 


Beginning  of  Rembrandt’s  misfortunes — His  household  goods 
seized — Marries  again — ‘Syndics  of  the  Cloth  Hall’ — Takes 
a house  on  the  Rosengracht — Paintings  and  Etchings,  1658 
to  1669 — His  last  Portraits — His  Heath  .... 


Chronology  of  Rembrandt’s  Domestic  Life 

Notes — Leyden — Plan  of  the  White  Gate,  Leyden — Rembrandt’s 
Mill— Rembrandt’s  Birth-day — Martin  Day — Ulenburgh 
Family  .......... 

Chronological  List  of  Rembrandt’s  Paintings 
Chronological  List  of  Rembrandt’s  Etchings  . 

INDEX 


68 

80 

81 

85 

99 

111 


LIST  OP  ILLUSTRATIONS. 


Page 

1. 

Portrait  of  Rembrandt.  Etching 

Frontispiece 

2. 

Lesson  on  Anatomy 

23 

3. 

Descent  from  the  Cross.  Etching 

. . 26 

4. 

Saskia  van  Ulenburgh.  Drawing 

30 

5. 

Rembrandt’s  Mother 

. . 36 

6. 

Cornells  Anslo.  Etching  . 

40 

7. 

Sortie  of  Frans  Banning  Cock  ( The  Eight  watch ) 

44 

8. 

Saskia  van  Ulenburgh 

50 

9. 

Die-Three  Trees.  Etching 

54 

10. 

Burgomaster  Jan  Six.  Etching 

58 

11. 

Ephraim  Bonus  .... 

62 

12. 

Jesus  Presented  to  the  People.  Etching 

66 

13. 

Dutch  Landscape.  Drawing 

74 

14. 

Resurrection  of  Lazarus  . 

15. 

Cottage  with  white  pales.  Etching  . 

i 02 

16. 

Christ  driving  out  the  Money-changers. 

Etching 

106 

Many  of  these  engravings  have  been  reduced  in  size  in  order  that 
they  may  fit  the  'gages  of  this  volume . 


BIBLIOGRAPHY. 

A List  of  the  principal  modern  wo^hs  on  Rembrandt. 

VOSMAER,  Charles.  Rembrandt  Hermansz.  Sa  Vie  et  ses  CEuvres. 
Seconde  edition.  La  Haye,  1877. 

BLANC,  Charles.  L’CEuvre  complet  de  Rembrandt,  orne  de  40  eaux- 
fortes  de  Flameng,  et  de  35  heliogravures  d’Amand  Durand.  2 vols. 
4 to.  Baris,  1873. 

BLANC,  Charles,  L’CEuvre  complet  de  Rembrandt,  d6crit  et  com- 
ment6  par.  Avec  Catalogue  Raisonrie  de  toutes  les  eaux  -fortes  du 
Maitre  et  de  ses  Peintures.  2 vols.  Paris,  1864. 

BLANC,  Charles.  L’CEuvre  complet  de  Rembrandt,  par  Charles 
Blanc.  Ouvrage  unique,  compose  d’un  volume  in-folio  de  texte  et 
de  deux  grands  albums  cartonnes,  reproduisant  seul  toutes  les 
estampes  du  Maitre  dans  le  procede  a l’eau-forte  des  originaux  et 
avec  une  Similitude  absolue.  Paris,  1880, 

DUTUIT,  M.  E.  L’CEuvre  complet  de  Rembrandt  decrit  et  catalogue 
par  M.  E.  Dutuit,  et  reproduit  en  heliogravure  par  M.  Charreyre. 
Collection  de  plus  de  360  pieces.  Paris,  1880. 

AMAND-DURAND.  CEuvre  de  Rembrandt,  reproduit  et  publie  par 
Amand-Durand.  In  Two  Parts.  Paris,  1880. 

SCHELTEMA,  P.  Rembrandt : Discours  sur  sa  Vie.  Revu  et  annote 
par  W.  Burger.  Paris,  1866. 

MIDDLETON,  Rev.  C.  H.  A Descriptive  Catalogue  of  the  Etched 
Work  of  Rembrandt  van  Rhyn.  London,  1878. 

MIDDLETON,  Rev.  C.  H.  Notes  on  the  Etched  Work  of  Rera- 
biandt.  187 7. 

HADEN,  Francis  Seymour.  Introductory  Remarks  to  the  Catalogue 
of  the  Etched  Work  of  Rembrandt,  selected  for  exhibition  at  the 
Burlington  Fine  Arts  Club.  London,  1877. 

WILLSHIRE,  W.  H.  (M.D.)  An  Introduction  to  the  Study  and  Col- 
lection of  Ancient  Prints.  2 vols.  London,  1877. 

HUMPHREYS,  Noel.  Rembrandt’s  Etchings.  Containing  30  full- 
size  reproductions  in  photography.  Folio.  London,  1871. 


REMBRANDT  VAN  RYN. 


HE  city  of  Leyden  in  the  seventeenth  century  was  rich 


and  prosperous,  and  in  all  Holland  second  in  extent 
only  to  Amsterdam  ; beautiful,  clean  and  pleasant,  abound- 
ing inrdiandsome  houses,  intersected  with  canals  of  fast 
running  water,  its  broad  streets  planted  with  trees,  and 
overlooking  the  Rhine.  Its  houses,  of  red  brick  lined  with 
white  masonry,  shadowed  the  pathways  with  their  project- 
ing gables ; and  their  ornamentation  of  arches,  festoons,  and 
medallions  carved  with  quaint  and  heraldic  devices,  com- 
pleted a style  of  architecture  that  was  characteristic  and 
charming.  Above  these  houses  rose  a large  and  splendid 
Town  Hall,  two  beautiful  gothic  churches,  and  a number  of 
buildings  originally  dedicated  to  religious,  but  at  that  time 
to  secular  uses.1 

The  traveller  arriving  from  the  south  or  south-west,  and 
approaching  the  city  by  the  White  Gate,  had  the  Rhine  on 
his  left  hand,  and  low-lying  meadows  on  his  right ; as  he 
entered  the  Gate,  all  Leyden,  with  its  numerous  peaked 

B 


CHAPTER  I. 


rembeandt’s  birth-place. 


2 


REMBRANDT  VAN  RYN. 


gables  and  turrets,  and  its  lofty  ramparts  studded  with 
bastions  and  windmills,  lay  before  him.  He  passed  the 
wooden  bridge,  and  a low  gate  flanked  by  two  tall  towers 
admitted  him  into  the  city.  Advancing  now  between  the 
ramparts  and  a row  of  houses,  he  entered  a street  called 
the  Weddesteeg — or,  as  we  should  say,  Water  Lane — 
passing  two  windmills  on  the  ramparts  on  his  left.  Much 
controversy  has  arisen  respecting  these  windmills.2  An 
imaginative  biographer — Houbraken  — states  that  Rem- 
brandt was  born  in  a mill  near  the  village  of  Leiderdorp, 
but  this  has  been  proved  to  be  an  error.  His  parents 
possessed  one  of  the  commodious  houses,  number  3,  in 
the  Weddesteeg,  and  in  this  house  Rembrandt  was  born, 
and  passed  his  youth  ; from  those  ramparts  he  drew  his 
first  lessons  of  natural  beauty,  looking  down  upon  the 
meadows,  the  woods,  and  the  winding  river,  the  spacious 
plains,  intersected  with  glittering  streams  and  dotted  at 
intervals  by  copses  which  sheltered  homesteads  and  barns  ; 
or  studying  tbe  belts  of  shade  and  light  alternating  on  the 
land  as  the  clouds  dispersed  in  the  sky,  the  thousand 
changes  of  the  sun?s  rays,  the  harmonies  of  colours  and 
tones,  and  the  transparency  of  the  shadows.  In  all  his 
works,  whatever  their  special  character,  Light  is  his  prin- 
cipal study.  Never,  before  Rembrandt,  had  the  poetry, 
the  mysterious  charm  of  Light  been  appreciated  as  it  was 
revealed  to  him  ; and  he  first  made  of  Light  the  essence  and 
aim  of  painting. 

Rembrandt,  the  youngest  son  of  Harmen  Gerritszoon 
van  Rijn,  was  born  on  the  15th  of  July,  1607.  His  father, 
a miller,  then  forty  years  old,  lived  in  a good  house,  and 
was  evidently  in  easy  circumstances ; his  portrait  is  not 


EARLY  LIFE. 


extant,  though  we  have  several  of  his  wife,  Reeltjen,  Rem- 
brandt’s mother,  who  was  the  daughter  of  the  baber 
Willems  van  Suydtbrouck  of  the  same  city.  At  that  time, 
at  the  age  of  thirty-five,  she  is  not  yet  the  old  woman 
familiar  to  ns — of  the  wrinkled  face,  of  the  fnr  mantle, 
sitting  in  an  arm-chair  with  hands  crossed  peaceably  npon 
her  lap.  She  is  stout  already,  her  features  are  not  refined, 
bnt  young  and  fresh.  She  has  a broad  full  brow.  The 
lines  of  her  mouth,  lightly  satirical,  show  strength  of  cha- 
racter and  that  type  of  firmness  that  she  will  retain  to  old 
age.  The  surroundings  of  the  family  are  simple,  but  en- 
tirely comfortable.  They  are  the  owners  of  several  houses, 
of  a large  share  in  a mill,  of  a pleasure-garden  at  the 
entrance  of  the  city  in  the  commune  of  Ostgeest,  of  another 
garden  outside  the  White  Gate,  on  the  bank  of  the  Rhine. 
It  is  one  of  those  wealthy  citizen  families  which  make  the 
nucleus  of  the  power  and  greatness  of  the  young  Republic. 
Five  children  sit  round  their  table — Adriaen,  who  will 
follow  his  father’s  trade,  Gerrit,  Machteld,  Cornelis,  Wil- 
lem, who  is  going  to  be  a baker,  and  to  these  is  now  added 
their  youngest  son  Rembrandt. 

Born  with  the  seventeenth  century,  powerful  and  crea- 
tive ! An  age  heralded  in  with  the  blare  of  trumpets  and  the 
roar  of  cannon.  Around  his  cradle  moves  a proud  and 
vigorous  nation  fresh  from  a desperate,  but  victorious, 
struggle  for  liberty ; no  longer  a party  in  a State,  but  a new 
and  independent  State,  whose  ships  are  rulers  of  the  sea, 
and  sail  the  whole  world  round ; whose  flag  is  unfurled,  and 
whose  national  anthem — the  Wilhelmus — i,3  chanted  to  the 
four  winds.  Everywhere,  manly  vigour,  exuberance  of  life 
in  every  phase,  social  and  political,  in  travels  and  in  com- 
merce, and  the  courage  of  liberty  in  the  arts  and  sciences. 


4 


REMBRANDT  VAN  RTN. 


But  what  are  the  shadows  on  this  strong  glare  of  light  ? 
The  anthem  that  hushes  the  cradle  of  the  century  is  a 
gloomy  prophecy  of  trouble,  civil  and  religious.  The  seeds 
of  dissension  are  quickening  in  the  soil : on  one  side  Maurice 
and  his  party,  the  preachers  of  orthodoxy ; on  the  other  the 
magistracy,  the  patricians,  free  thought.  The  sword  of  the 
prince  in  one  scale,  the  lawyer’s  robe  in  the  other — liet 
bernt  in  ’ t veld — the  flames  burst  in  on  all  sides,  and  are 
quenched  in  the  blood  that  is  shed  on  an  illustrious  scaffold. 
Such  is  the  cradle-song,  inspired  by  the  stirring  passions 
of  the  age,  that  greeted  the  infancy  of  the  seventeenth  cen- 
tury and  of  Rembrandt. 

Mystery  has  been  introduced  by  the  zeal  of  his  biogra- 
phers into  the  simplest  facts  of  the  painter’s  life.  The 
legend  of  his  birth  in  a windmill  was  introduced  by  a 
writer  who  went  on  to  attribute  to  the  peculiar  narrow 
windows  of  the  slanting  roof  of  his  first  home  his  sympa- 
thies with  the  weird  workings  of  concentrated  light  among 
deep  shadows.  Orlers,  the  burgomaster,  in  his  sympathe- 
tic description  of  the  town  that  he  was  so  proud  of,  gives 
the  earliest  and  most  trustworthy  details  that  we  posses* 
of  the  painter’s  youth.  In  his  “ Description  of  Leyden  ” 
(1641)  his  notices  of  other  painters  are  taken  literally 
from  the  earlier  work  of  Van  Mander,  who,  however,  died 
in  the  year  of  Rembrandt’3  birth.  Orlers  therefore  turned 
to  the  archives  of  the  city  for  the  continuation  of  his  his- 
tory.3 In  this  we  have  a naive  description  of  the  prudent 
ambition  of  the  parents  for  the  future  career  of  their  boy, 
and  how  “ they  sent  him  to  school  to  learn  the  Latin  tongue, 
to  prepare  himself  for  the  Academy  of  Leyden,  that  when 
he  became  of  age  he  might  serve  the  city  and  the  republic 
with  his  knowledge  ; ” and  how  “ he  had  no  liking  nor 


EARLY  LIFE. 


5 


desire  for  his  studies,  because  his  natural  inclinations 
always  drew  him  on  to  the  art  of  painting  and  designing, 
wherefore  they  were  forced  to  remove  their  son  from  the 
school  and  apprentice  him,  according  to  his  wish,  to  a 
painter  to  learn  first  principles  of  him.”  The  world  should 
be  grateful  for  this  to  the  broad  full  forehead  and  firm-set 
lips  of  the  mother  whose  portrait  this  prudent  decision  has 
immortalized.  Jacob,  the  son  of  Isaac  van  Swanenburg, 
who  was  the  boy’s  first  master  in  art,  owes  also  to  this  cir- 
cumstance the  share  of  celebrity  that  he  claims. 

Before  launching  Rembrandt  upon  his  higher  studies, 
let  us  pause  to  reflect  upon  the  probable  influence  that  was 
exercised  upon  his  career  by  caligraphy.  This  art,  which 
has  vanished  with  goosequills,  was  at  that  time  highly 
esteemed  ; and  such  men  as  Jan  van  Velde,  and  Lieven  van 
Coppenol,  whose  portrait  was  etched  by  Rembrandt,  owe 
theiA  fame  to  it.  In  1605  a book  called  the  “ Mirror  of 
Caligraphy  ” had  been  published  at  Amsterdam,  in  one 
folio  volume,  in  which  the  master  of  a French  school  at 
Rotterdam,  the  above-named  Jan  van  Yelde,  had  expounded 
his  theory  of  the  art,  illustrating  it  by  specimens.  In  this 
work  the  ornamental  capitals  were  surrounded  or  filled  in 
by  designs  of  a bust,  a stag,  a ship  in  full  sail,  or  other 
similar  ornaments  skilfully  inserted  in  the  scrolls. 

Imagine  how  the  art-sentiment  of  the  gifted  boy  must 
have  revelled  in  these  gracefully  twined  letters ! how  his 
greatest  delight  must  have  been  the  reproduction  of  the 
figures  on  his  lesson  books  ! how  inevitably  he  was  regis- 
tered among  the  idle  scholars  who,  “ when  they  ought  to 
be  writing,  scrawl  figures  of  vessels  and  animals  all  over 
the  margins  of  their  books  !”  One  of  the  most  celebrated 


6 


REMBRANDT  VAN  RYN. 


of  the  above-named  caligraphs,  Coppenol,  appears  in  aftei 
life  as  the  personal  friend  of  Rembrandt,  and  we  are  familiar 
with  his  features  from  several  wonderful  portraits  of  him, 
the  most  curious  of  which  is  in  the  Cassel  Gallery,  and  is 
remarkable  for  the  art  with  which  the  hands  of  this  “ phoenix 
of  pens,”  as  he  was  called,  are  made  the  attractive  centre 
of  the  picture,  so  that  the  eye  is  led  from  all  other  parts  of 
it  to  settle  on  the  hands,  of  which  one  holds  a knife  and 
the  other  a pen  that  he  is  making. 

Besides  the  charms  of  caligraphy,  we  must  dwell  upon 
the  influences  that  local  incidents  would  exercise  upon  the 
genius  of  Rembrandt,  especially  the  Feasts  commemorating 
the  anniversary  of  the  then  recent  relief  of  the  city  in  1574  ; 
the  free  markets  thronged  with  dealers  from  all  the  country 
round ; the  brilliant  parades  of  the  civic  guard,  armed  with 
musket  and  pike,  the  drums  and  fifes  playing  “ Nassau 
getreu,”  or  uvive  les  gueux  ” (a  song  written  in  contempt  of 
the  Spaniards)  ; the  public  games  on  the  fourth  day,  the 
streets  gay  with  ornament,  the  picturesque  crowd  in  the 
well-known  costume  of  the  age  and  country,  and  all  the 
life  and  gaiety  of  a public  fair,  pitched  in  the  picturesque 
centre  of  the  city  among  the  gabled  roofs,  broad  avenues, 
and  limpid  canals  that  adorned  it.  On  these  occasions  the 
jjreat  hall  of  the  hotel  de  ville  was  used  as  a bazaar  for 
goldsmith’s^  work,  fine  cabinet  work,  and  books,  and  the 
paintings  of  foreign  artists — the  sale  of  which  was  pro- 
hibited at  all  other  times. 

Among  the  permanent  art  treasures  of  this  town-hall 
was  the  picture  by  the  great  Lucas  van  Leyden,  which  the 
Emperor  Rudolph,  who  wanted  to  buy  it,  offered  to  cover 
with  gold.  These  details  are  suggestive  of  the  influences 
that  led  the  boy  on  in  compliance  with  his  “ natural  inclina- 


EARLY  LIFE. 


7 


tions,”  which,  as  Orlers  says,  “ always  drew  him  on  to  the 
art  of  painting  and  designing.”  Prudently  indulging 
these  inclinations,  which  must  have  been  singularly  decided 
in  so  youthful  a hoy,  his  parents  apprenticed  young  Rem- 
brandt in  the  first  place  to  a family  friend,  who  appears  to 
have  been  rather  selected  for  his  respectable  rank  and  per- 
sonal intimacy  with  the  Van  Ryns  than  for  his  eminence 
in  art.  Rembrandt  must  have  been  about  twelve  years 
old  at  the  time  when  he  was  placed  with  Van  Swanen- 
burg,  and  he  studied  with  him  about  three  years.  Of 
this  part  of  his  life  we  possess  no  further  details. 

“ After  three  years  passed  under  the  direction  of  Master 
van  Swanenburg,  the  young  Rembrandt  had  progressed 
so  much,”  says  Orlers,  “ that  amateurs  were  astonished, 
and  it  was  easy  to  predict  that  he  would  excel  in  his  art. 
Thenjfiis  father  decided  to  send  him  to  the  famous  painter, 
Pieter  Lastman,  at  Amsterdam.” 

In  spite  of  Lastman’s  passing  celebrity,  the  choice  is 
remarkable.  One  is  reminded  of  others  who  might  have 
been  selected  — Mirevelt,  Honthorst,  or  Van  Ravesteyn, 
or,  above  all,  Frans  Hals,  or  Esaias  van  de  Velde  who 
was  at  Leyden  ; but  Lastman  was  famous  in  his  day,  and 
the  great  poet  of  his  country  was  singing  his  praise; 
moreover  he  had  been  to  Italy,  and  he  painted  religious 
subjects,  whilst  the  others  we  have  mentioned  painted  only 
portraits  and  genre.  It  was  probably  at  the  age  of  fifteen 
or  sixteen  that  Rembrandt  was  apprenticed  to  Lastman 
Orlers  says  “ he  remained  there  only  six  months.” 

In  1623  Rembrandt,  we  learn,  returned  to  his  home  in 
Leyden,  and  there  he  lived  with  his  parents,  in  the  Wedde- 
steeg,  until  1630.  It  is  remarkable  that  his  earnest  study 


8 


REMBRANDT  VAN  RYN. 


of  art  did  not  lead  him,  with  the  great  body  of  his  con- 
temporaries, to  study  in  Italy.  It  was  not  from  want  of 
means  that  he  was  prevented,  but  by  the  consciousness 
that  he  had  his  own  peculiar  mission.  Hot  only  the  art 
of  his  native  country,  but  that  of  the  whole  world,  was 
to  be  guided  into  new  paths  by  him,  and  he  refuses 
to  learn  of  any  other  teacher  than  nature.  In  the  lights 
and  shadows  playing  on  the  landscape  he  sees  things 
hidden  to  others  ; in  humanity,  he  seizes  and  reproduces 
every  fleeting  expression  of  sentiment.  He  chooses  for 
his  models  the  forms  most  familiar  to  himself,  and  of  the 
truth  of  whose  nature  he  has  the  clearest  knowledge — his 
family  and  himself.  But  Light  is  always  the  principal 
theme  of  his  studies — Light  and  the  expression  of  life  in 
all  the  forms  of  Nature.  Like  Shakespeare,  he  combined 
the  healthiest  and  most  lively  translation  of  Nature  with 
a vivid  imagination  and  love  of  mystery.  For  several 
years  he  continued  his  deep  and  original  studies,  of  which 
he  has  unfortunately  left  us  no  record,  until  in  1627  he 
gave  to  the  world  his  first  known  picture  (now  in  the 
museum  at  Stuttgart),  4 St.  Paul  in  Prison.’  The  only 
remarkable  characteristic  of  this  painting  that  interests 
us  is  its  extreme  conscientious  elaboration  of  detail,  so 
precise  and  finished  as  to  approach  hardness.  If,  later  in 
life,  Rembrandt  gave  free  licence  to  his  pencil,  he  did  so 
in  the  confidence  acquired  by  unwearied  study.  This  pic- 
ture is  followed  by  several  etchings  of  the  portrait  of  his 
mother,  whose  features  singularly  resemble  his  own. 

About  this  time,  1628,  Rembrandt  must  have  taken  his 
first  pupil ; this  was  Gerard  Dou,  a fellow- townsman,  who 
was  born  in  the  same  year  as  himself. 

Rembrandt’s  Leyden  pictures,  resembling  those  of  Last- 


EARLY  LIFE. 


9 


man  and  Pinas  in  composition,  details,  and  distribution 
of  light,  though  indicative  of  talent,  are  obviously  tenta- 
tive. The  young  painter  was  evidently  feeling  after  a 
greater  effect  of  light  and  shade  and  a greater  warmth  of 
tone  than  he  had  achieved  in  his  * St.  Paul  ’ of  1627.  In 
the  year  1630  Rembrandt  painted  the  ‘Bust  of  an  Old 
Man,’  which  is  the  most  interesting  of  all  the  Rembrandts 
in  the  Cassel  Gallery,  from  the  fact  that  it  first  displayed 
his  knowledge  of  the  great  secret,  which  he  subsequently 
so  wonderfully  developed,  of  concentrating  light  upon  the 
heads  of  his  portraits.  He  painted  other  old  men’s  heads 
at  the  same  date,  and  all  are  remarkable  for  indefatigable 
elaboration  and  care. 

In  this  same  year  Rembrandt  produced  more  than  thirty 
etchings,  some  of  which,  on  biblical  subjects,  illustrate 
the  natural  and  familiar  style  introduced  by  the  best  Ger- 
man painter  of  the  period,  Elzheimer,  who  was  then  teach- 
ing at  Rome. 

We  learn  from  Orlers  that  Rembrandt  at  this  time  was 
. often  solicited  to  visit  Amsterdam,  to  paint  portraits.  Ac- 
cordingly, in  1630,  after  he  had  spent  seven  years  working 
at  Leyden,  we  find  that  he  removed  to  Amsterdam,  and  in 
that  city  we  must  trace  his  further  progress. 


THE  interval  between  the  death  of  Lucas  van  Leyden 
(1533)  and  the  birth  of  Rembrandt  is  occupied 
by  a remarkable  group  of  painters  whose  history  is  too 
little  known.  The  great  revolution  in  art,  inaugurated  by 
the  Italian  masters  of  the  last  half  of  the  fifteenth  century, 
was  vigorously  carried  forward  by  the  Northern  schools, 
and  brought  nearly  to  perfection  by  the  painters  of  Holland. 
Its  effect  was  the  liberation  of  art  from  traditional  influ- 
ence, and  notably  from  ecclesiastical  and  monumental 
tendencies,  and  the  introduction  of  personal  freedom  of 
expression  in  sympathy  with  nature  and  humanity.  When 
Jan  Schoreel  (born  in  1495),  his  pupil  Antonio  Moro,  and 
Maarten  van  Hemskerck,  or  their  Flemish  rivals,  Jan 
G-ossaert  van  Maubeuge,  whom  we  call  Mabuse,  and 
Barend  van  Orley  visited  Italy,  they  found  the  new 
naturalistic  art  in  full  vigour.  Leonardo  was  still  alive, 
and  Raphael,  Michelangelo,  Titian,  Correggio  were  in  the 
prime  of  their  energy.  The  travellers  brought  back  to  the 
Netherlands  new  inspiration  from  the  close  study  of  nature, 
freedom  of  colour,  and  taste  shown  in  the  grand  composi- 


THE  PRECURSORS  OF  REMBRANDT. 


11 


tions  they  had  seen ; and  they  developed  this  new  Italian 
method  at  home.  Lucas  van  Leyden  never  visited  Italy, 
but  pursued  his  own  eminently  original  style  in  retirement. 
He  was  not  unfamiliar  with  the  Italian  school,  but  sympa- 
thized rather  with  that  of  Germany,  especially  with  Diirer. 

The  bright  deep  colouring  and  rounded  lines,  the  historic 
subjects  and  taste  for  things  literary,  clever  or  elegant, 
acquired  by  the  u renaissance  ” painters,  were  in  their 
turn  repudiated  by  a new  generation ; and,  if  we  turn  for  a 
moment  to  contemporary  history,  we  shall  find  matter  for 
wonder  in  the  attention  given  to  art  during  the  years  of 
Holland’s  sorest  struggles  and  sufferings  in  the  war  of 
liberation.  The  artists  of  that  period,  vigorous  precursors 
of  Rembrandt  and  of  the  brilliant  seventeenth  century, 
were  Yroom,  Mirevelt,  Ravesteyn,  Lastman  (the  teacher 
of  Rbmbrandt),  Pinas,  Prans  Hals,  Van  de  Yenne,  Jansen 
van  Ceulen,  Theodor  de  Keyser,  Honthorst,  the  elder  Cuyp, 
Yan  Goyen,  Leonhard  Bramer,  and  Esaias  van  de  Yelde. 
Life  and  light  were  the  key-notes  of  their  compositions. 
Portraiture,  landscape,  sea-pieces,  the  painting  of  animals, 
flowers,  fruits,  and  popular  life,  were  animated  with  new 
harmonies  by  the  reciprocal  effects  of  colour  and  chiaro- 
scuro, and  the  study  of  light  and  shade.  In  this  process 
two  distinct  schools  appear  ; the  painters  to  whom  form  and 
grouping  were  dear  continued  to  be  distinguished  by  an 
equality  of  light  that  left  no  part  of  their  work  in  obscurity. 
Such  were  Bloemaart,  Cornelis  van  Haarlem,  Poelenburg, 
and  Paul  Moreelse.  Others,  a more  numerous  group, 
sacrificed  all  details  to  the  general  result  of  contrasted  or 
concentrated  lights  and  shades.  Of  this  class  were 
Moeyart,  Ravesteyn  (especially  towards  1618),  Lastman, 
Pinas,  Honthorst,  Bramer,  Roghman,  and  Yan  Goyen. 


12 


REMBRANDT  VAN  RYN. 


Such  were  the  men  and  means  that  created  the  great 
school  of  the  seventeenth  century.  In  the  midst  of  a free 
nation,  at  a time  when  the  rights  of  individuals  were 
respected,  when  tradition  was  giving  place  to  new  things  ; 
in  a republic  of  citizens  and  nobles  stripped  of  royal  and 
aristocratic  luxury ; in  a fertile  country,  whose  abundant 
vegetation  was  striking  in  its  variety  of  colour  and  shade, 
but  monotonous  in  form,  literature  and  art  grew  into  har- 
mony with  their  home.  The  rude  and  rough  asceticism  of 
Ribera  was  impossible  here.  The  rich  refinement  of  Y enice 
would  here  have  been  as  discordant  as  the  calm  abstraction 
or  scholastic  rigour  of  Rome.  Here,  the  choice  of  subjects  and 
the  mode  in  which  they  were  treated  were  the  natural  product 
of  the  artist’s  personal  feeling,  and  the  artist  was  a member 
of  the  middle-classes  of  society.  This  last  consideration  is 
very  important.  All  the  works  of  Dutch  painters  spring 
from  their  authors’  own  will  and  individual  sympathies. 
Their  art  is  accordingly  vigorous,  like  the  citizen  soldiers 
or  hardy  sailors,  or  the  Regents,  half  soldiers,  half  states- 
men, of  the  young  Republic.  It  is  simple  as  its  country’s 
level  plains,  but  contains  a touch  of  bold  poetry  like  its  sea. 
Its  colours  are  deep  and  mellow  like  its  meadows  and 
woods,  or  fine  and  silvery  as  its  autumn  breezes.  It  is  as 
strongly  characteristic  of  the  nation  of  citizens  as  their 
mode  of  life.  It  sports  with  light  and  shade  like  the  sun 
and  the  clouds  of  its  sky.  Finally,  it  is  expressive  of  the 
grand  principles  of  truth  and  liberty,  of  which  this  people 
was  at  its  period  the  chosen  guardian. 

The  history  of  Rembrandt  is  the  history  of  this  move- 
ment in  art,  and  contains  that  of  his  precursors.  Every 
stage  of  the  progress  that  culminated  in  Rembrandt  has 
its  representative  painter  advancing  steadily  in  the  direc- 


THE  PRECURSORS  OF  REMBRANDT. 


13 


tion  of  his  perfection,  and  these  men  are  capable  of  ar- 
rangement by  their  works,  and  of  them  the  luminous  centre 
is  Rembrandt.  Passing  over  the  few  contemporaries  who 
were  not  in  such  a path  (such  as  Cornelis  van  Haarlem,  a 
painter  of  great  merit,  after  the  Italian  style  ; Bloemaart ; 
Jansen  van  Ceulen,  a clever  painter  who  lived  in  England  ; 
Poelenburg,  who  painted  little  nymphs  and  bathing 
beauties  in  Arcadian  landscapes,  and  Paul  Moreelse),  we 
must  mention  first  among  Rembrandt’s  immediate  pre- 
cursors Mirevelt,  whose  portraits  finely  coloured,  sober  and 
natural,  are  close  representations  of  nature,  and  free  from 
all  idealism.  And  next  we  contrast  with  him  Gerard  Hon- 
thorst,  “ Gherardo  della  Notte  ” the  Italians  called  him, 
brilliant  in  fortune  as  in  art,  whose  night  effects  of  torch- 
light and  candles,  bold  and  realistic  treatment  of  subjects 
of  outdoor  life,  and  study  of  Caravaggio,  are  all  fresh  and 
original  notes  of  the  symphony  that  introduces  Rembrandt. 

Jan  Pinas,  who  is  often  described  as  one  of  the  teachers 
of  Rembrandt, — but  not  by  Orlers  nor  by  Sandrart,  who  are 
his  only  trustworthy  biographers, — had  studied  in  Italy  with 
Lastman,  Goudt,  and  Elzheimer.  The  abrupt  contrasts 
of  his  lights  and  brown  shadows  resemble  those  of  Cara- 
vaggio. Contemporary  and  his  fellow-townsman  at  Haar- 
lem, was  Pieter  de  Grebber,  who,  like  other  artists  of  this 
city,  painted  occasionally  in  a style  of  brilliant  colours, 
breadth  of  treatment,  and  splendour  of  accessories  that  was 
quite  in  the  manner  of  Rubens.  But  De  Grebber  had 
another  style,  in  the  character  of  Pinas  and  Lastman,  in 
which  his  effects  of  bright  light  in  the  midst  of  brown 
shadows,  his  choice  of  oriental  costume,  and  the  general 
arrangement  of  his  theme  are  typical  of  the  tendency  that 
was  leading  up  to  Rembrandt. 


14 


REMBRANDT  VAN  RTN. 


Haarlem  was  crowded  with  painters  at  this  time,  and 
ihe  principal  subject  of  their  art  was  a kind  of  historical 
portrait  painting  on  a large  scale,  representing  the  digni- 
taries and  civic  corporations  of  the  place,  in  groups  of  a dozen 
and  more,  life  size,  or  nearly  so,  on  enormous  canvases. 
These  are  called  “ Doelenstukken  ” or  “ Regentenstukken,” 
and  are  extremely  interesting,  not  only  for  their  lively 
contemporary  record  of  stirring  political  incidents  and 
personages,  but  equally  for  the  truth  and  realism  of  their 
art,  this  last  quality  of  realism  being  that  which,  combined 
with  true  sentiments  of  light  and  colouring,  brings  them 
in  the  category  of  works  strictly  precursive  of  Rembrandt. 
This  style  of  painting  was  practised  at  Leyden  by  Joris 
van  Schooten,  who  is  said  to  have  been  a teacher  of  Rem- 
brandt ; at  Amsterdam  by  Thomas  de  Keyser,  famed  for 
the  life  that  he  infused  into  these  enormous  pictures  ; and 
at  the  Hague  by  Joannes  van  Ravesteyn,  whose  portrait 
by  Van  Dyck  still  exists.  His  principal  work  represents 
the  ‘ Civic  Guards  ’ drinking  the  glass  of  wine  that  was 
offered  them  once  a year  by  the  magistrates.  This  mag- 
nificent canvas,  deep  in  colour  and  warm  in  tone,  has 
qualities  of  slanting  lights  in  brown  shadows,  tones  brown 
and  gilded,  and  amber  flesh  tints  that  Rembrandt  himself 
would  not  have  disowned.  There  is  a great  analogy  between 
Ravesteyn’s  paintings  and  the  ‘Anatomy  Lesson’  of  Rem- 
brandt. 

But  the  greatest  master  of  his  style,  and  of  the  whole 
school  of  this  period,  is  Frans  Hals.  His  immense  pic- 
tures are  admirable  for  their  perfect  harmony  and  unity  of 
colour  and  purpose,  and  he  deserves  to  rank  as  the  most 
brilliant  heralder  of  Rembrandt  for  the  life  and  character 
of  his  figures,  for  his  broad  bold  painting,  for  his  natu- 


THE  PRECURSORS  OF  REMBRANDT. 


15 


ralistic  and  modernized  tendency.  Hals  was  the  brilliant 
introduction,  the  Allegro  vivace  con  brio  of  the  majestic 
Rembrandt  symphony. 

In  the  meantime  the  enfranchisement  of  genre  painting 
and  of  landscape  proceeded  by  the  same  degrees.  Yan  de 
Venne,  Van  de  Yelde,  and  Molyn  divided  their  studies 
between  landscape  and  figures.  Yan  Goyen,  Roghman, 
Wynants,  Ruysdael,  were  all  landscape  painters  'par  excel- 
lence, and  in  their  hands  this  branch  of  their  art  assumed 
a full  independence.  Bruegel,  Bril,  Elzheimer,  De  Mom- 
per,  and  Savery  had  thought  it  necessary,  while  treating 
landscape  as  a principal  subject,  to  insert  in  their  pieces, 
as  a sort  of  apology  for  it,  historical  or  biblical  scenes, 
or  animals.  Yan  de  Yelde,  Yan  Goyen,  Wynants,  and 
Roghman  were  the  first  to  become  faithful  interpreters 
of  nature  in  this  branch  of  art.  Hitherto  the  landscape 
painters  had  rendered  trees  and  plants  greatly  in  detail ; 
but  these  painters,  especially  Yan  Goyen,  expressed  foliage 
in  masses,  and  distances  by  intervening  atmospheres  ; and 
Roeland  Roghman  added  a grandeur  of  design  and  a 
poetry  of  colour  such  as  his  friend  Rembrandt  was  soon 
to  perfect. 

Among  those  whose  works  are  more  immediately  con- 
nected with  the  method  of  Rembrandt,  the  first  place  is 
due  to  Leonhard  Bramer,  who  was  not,  as  is  generally  sup- 
posed, his  pupil  and  imitator,  but  his  forerunner.  The 
dates  of  his  pictures  establish  this.  He  is  remarkable, 
like  Rembrandt,  for  the  concentration  of  his  light  upon  a 
point ; his  costumes  are  oriental  or  ragged  like  those  of 
Lastman  and  Pinas.  He  was  a disciple  of  Elzheimer, 
and  no  doubt,  although  not  in  his  earlier  years,  yet  later 
in  life,  was  much  influenced  by  the  work  of  Rembrandt. 


16 


REMBRANDT  VAN  RYN. 


Mozes  van  Uytenbroeck,  also  a pupil  of  Elzheimer,  was 
especially  a landscape  painter,  and  also  an  engraver,  and 
in  the  characteristic  details  of  his  compositions  we  see  a 
great  resemblance  to  Rembrandt’s  own  engravings. 

Nicholas  Moeyart  belongs  to  the  same  group  and  illus- 
trates remarkably  the  new  method  of  treating  biblical 
subjects,  no  longer  after  the  traditional  fashion,  but  in  a 
familiar  and  natural  way  that  appealed  more  directly  to 
the  sympathy  of  the  spectator. 

This  character  is  common  to  Elzheimer  and  the  whole 
group  of  his  followers  and  subsequently  to  Rembrandt  him- 
self. Elzheimer  loved  to  surround  his  biblical  and  mytholo- 
gical subjects  with  charming  and  graceful  Italian  landscapes, 
and  to  dress  his  characters  in  the  familiar  costumes  and 
attributes  of  daily  life.  The  influence  of  Elzheimer  upon 
the  Dutch  painters  who  lived  in  the  early  part  of  the 
seventeenth  century  can  scarcely  be  exaggerated.  They 
surrounded  him  as  pupils  and  friends  in  Rome,  his  works 
were  abundantly  imported  and  multiplied  by  engravings 
in  Holland,  and  there  is  no  doubt  that  they  played  a prin- 
cipal part  in  the  art-education  of  the  great  Rembrandt. 

The  genealogy  of  Rembrandt’s  immediate  ancestors  in 
art  closes  with  the  name  of  his  instructor  Pieter  Last- 
man.  We  know  less  of  this  painter’s  life  than  we  know 
of  his  career  in  art,  and  the  latter  alone  interests  us. 
He  joined  the  circle  of  Dutch  and  Flemish  artists  which 
grouped  round  Elzheimer  in  Rome ; and  his  early  works, 
moderate  in  merit,  are  valuable  for  their  illustration  of  the 
peculiar  charms  of  natural  feeling,  truth  and  treatment 
of  light;  and  as  a definite  link  between  Elzheimer  and 
Rembrandt.  A notable  characteristic  of  this  period  of 
Eastman’s  work,  derived  from  Elzheimer,  is  the  intro- 


THE  PRECURSORS  OF  REMBRANDT. 


17 


duction  into  all  his  landscapes  of  foliage  of  large  leaved 
plants.  In  common  with  Guercino,  Domenichino,  Hon- 
thorst,  Ribera,  Gnido,  and  others,  Lastman  was  a follower 
of  Caravaggio  and  the  so-called  “colourists”  or  “brownists,” 
to  whom  the  intensity  of  their  effects  of  light  and  shade 
was  dearer  than  truth  of  design.  Rembrandt,  following  the 
same  school,  set  right  their  errors  of  violent  contrasts  and 
absence  of  gradation  or  transparency.  His  shadows  are 
always  transparent  and  harmonize  with  the  lights,  and  his 
power  results  from  the  ingenious  modulation  of  a long 
scale  of  tones.  Lastman  was  much  sought  by  pupils? 
and  his  success  in  Holland  was  brilliant.  The  poet 
Vondel  calls  him  the  Apelles  of  his  age,  and  inquires 
which  Pieter — Lastman  or  Rubens — deserves  the  palm. 
The  later  pictures  of  Lastman  possess  to  a remarkable 
extent  the  qualities  of  transparency,  mystery,  and  im- 
materiality which  fascinate  the  student  of  Rembrandt. 

On  the  whole,  the  interest  attaching  to  Lastman  is 
chiefly  derived  from  the  problem  of  the  extent  of  his  influ- 
ence on  his  pupil.  He  represents  a period  of  transition  in 
the  history  of  art.  Superior  to  many  of  his  precursors,  he 
was  surpassed  by  several  of  his  younger  contemporaries. 
Many  of  Rembrandt’s  works  are  identical  in  style  with 
those  of  Lastman — costumes,  buildings,  even  the  action 
of  his  figures  are  found  in  Rembrandt ; and  he  has  some 
of  Rembrandt’s  qualities  in  his  treatment  of  Light.  But 
the  distance  between  the  two  is  immense : it  is  that  between 
an  experimental  essay  and  the  achieved  result. 


G 


CHAPTER  III. 


AMSTERDAM  IN  THE  YEAR  1630. 


TJrbs  spaciosa,  potens  opibas,  tectisque  superba ; 
....  totoque  parens  commercict  mundo. 


Barlasus. 


MSTERDAM  was  at  this  time  — 1630  — a rich  and 


flourishing  commercial  city  of  a hundred  thousand 
inhabitants,  intersected  by  the  river  Amstel,  and  by 
numerous  canals.  The  lofty  houses  of  the  citizens  formed 
the  streets ; the  mansions  of  the  nobility  lined  the  quays. 
The  tapering  roofs  and  towers  of  churches  and  public 
buildings  rose  in  the  midst. 

The  architecture  of  Amsterdam  contained,  even  then,  a 
few  traces  of  the  florid  Gothic  style  in  the  churches  and 
ancient  convents,  and  in  the  peaked  gables,  the  ornamental 
arches,  and  profiles  of  the  houses ; but  Hendrik  de 
Keyser,  the  town  architect,  had  created  a new  national 
style  which,  though  based  on  the  Italian  Renaissance,  was 
original  in  its  character.  This  architecture,  with  pilasters 
and  classical  plain-moulding  at  every  storey,  was  pictu- 
resque in  its  ornamented  gables,  its  grotesque  heads,  its 
carved  stone  garlands,  and  its  bonds  of  red  brick  and  free- 


AMSTERDAM  IN  THE  YEAR  1630. 


19 


stone.  To  this  style  was  associated  that  of  Danckerts  de 
Rij,  the  admirer  and  follower  of  the  Italian,  Vincenzio 
Scamozzi.  And  all  these  modern  and  ancient  constructions 
were  modified  by  the  tastes  of  the  day.  Each  house  had 
a family  character  or  emblem  of  its  own.  The  fa9ades, 
escutcheons,  medallions,  and  signboards  were  decorated 
with  allegorical  subjects  in  bas-relief,  figures  and  scenes 
borrowed  from  the  Bible,  family  mottoes,  proverbs,  rhymes, 
or  play  upon  names.  For  instance,  “ He  Witte  Pers ,”  “ The 
White  Press,”  was  the  sign  of  Pers,*  in  the  Warmoes- 
straat.  “ Steadfastness  ” was  the  motto  of  the  celebrated 
poet  Vondel;f  and  in  the  Kalver-straat,  Dancker  Danck- 
erts, printer  and  publisher  of  engravings,  books,  and  maps, 
lived  at  the  grateful  sign  of  “ Thankfulness  ” (m  de  dcrnk- 
baarheid').  In  the  same  street,  in  the  house  “ de  Visscher 
was  Claes  Jansz  Yisscher,  a well-known  publisher  and 
engraver. 

Perpetual  bustle  and  crowd  pervaded  the  streets,  canals, 
and  rivers.  The  Y and  the  Amstel  were  crowded  with 
vessels.  The  city  was  trading  with  the  whole  world, 
and  was  the  exchange  of  all  nations,  and  the  focus  of 
civilization.  Artists  came  there  in  great  numbers  with  the 
double  object  of  studying  the  peculiar  picturesqueness  of 
the  city,  and  finding  among  its  wealthy  merchants  a market 
for  their  works  ; and  among  them  Rembrandt  established 
his  studio.  He  was  not  a stranger  in  the  place  where,  six 
or  seven  years  ago,  he  had  passed  his  short  apprenticeship 
with  Lastman.  And,  even  after  his  return  to  Leyden,  he 
had  not  been  forgotten  in  Amsterdam,  for  from  that  city 
he  had  received  numerous  commissions. 


* Pers  means  “ press.5 


f Vondel  is  ct  a little  bridge.” 


20 


REMBRANDT  VAN  RYN. 


Among  the  artists  with  whom  Rembrandt  was  already 
on  intimate  terms  was  Nicolaes  Moeyart,  who  had  settled 
there  in  1624,  and  entered  the  guild  of  painters  in  1630. 
He  followed  Elzheimer’s  school,  and  must  have  welcomed 
Rembrandt  as  a colleague : he  has  been  already  mentioned 
among  the  precursors  of  Rembrandt.  His  pupil  Salo- 
mon Koninck  also  worked  at  historical  and  portrait  paint- 
ing on  the  same  principles,  and  in  colour,  chiaro-scuro, 
choice  of  subjects,  and  costumes  was  entirely  of  his  mas- 
ter’s school.  Another  remarkable  advocate  of  the  same 
style  was  Jan  Lievens,  who  had  studied  with  Rembrandt 
under  Lastman.  Lievens  tried  to  combine  Rembrandt’s 
deep  sentiment  for  colour  and  shade,  with  a greater  regard 
to  form.  He  is  a remarkable  artist,  and  his  position  has 
never  been  properly  established  among  his  contemporaries. 
To  Lievens  must  be  assigned  a picture  long  attributed  to 
Rembrandt — the  charming  portrait  of  a young  man,  which 
Seghers  has  wreathed  with  flowers,  in  the  Belvedere  Gal- 
lery at  Vienna. 

One  of  the  earliest  friends  and  disciples  of  Rembrandt 
was  Jan  George  van  Vliet,  born  in  1610,  at  Delft,  of  a 
patrician  and  artistic  family.  He  is  remembered  by  his 
etchings,  but  he  also  deserves  notice  as  a painter,  though 
his  pictures  are  extremely  rare.  But  Van  Vliet  is  known 
best  of  all  by  his  engravings  after  Rembrandt ; and  he  was 
the  first  who  devoted  himself  to  the  reproduction  of  the 
young  master’s  works.  Already,  in  1631,  he  had  executed 
after  him  several  vigorous  heads  of  old  men,  as  well  as 
some  biblical  subjects,  and  in  1632  he  published  a series  of 
beggars  in  Rembrandt’s  style.  He  enters  perfectly  into 
the  artist’s  sentiment,  but,  in  seeking  after  a strong  effect, 
he  has  perhaps  dwelt  too  much  on  sheer  contrast  of  light 


AMSTERDAM  IN  THE  YEAR  1630. 


21 


and  shade  without  intermediate  tones.  His  plates,  never- 
theless, contain  vigorous  and  picturesque  effects.  Salomon 
Savry  was  another  engraver  at  Amsterdam  who  reproduced 
Rembrandt’s  works.  The  works  of  the  young  artist  were 
therefore  appreciated  at  a very  early  age. 

The  precise  date  of  the  commencement  of  the  life-long 
friendship  between  Rembrandt  and  Roeland  Roghman  is 
unknown,  but  sympathy  on  art-subjects  soon  drew  the  two 
men  together.  Roghman,  from  all  we  know  of  him, 
appears  to  have  been  a man  of  independent  ideas,  like 
Rembrandt,  with  strong  opinions  of  his  own  on  art.  His 
two  large  mountainous  landscapes  in  the  Cassel  Gallery, 
long  attributed  to  Rembrandt,  and  the  splendid  landscape 
signed  Roeland  Roghman,  in  the  Oldenbourg  Museum,  are 
paintings  full  of  character. 

Upon  his  arrival  in  Amsterdam  Rembrandt  hired  apart- 
ments over  a shop  on  the  Bloemgracht,  a quay  situated  to 
the  extreme  west  of  the  town,  where  he  soon  had  many  orders 
and  many  pupils.  It  was  in  this  studio  that  he  painted 
his  principal  work  of  the  year  1631,  ‘ The  Presentation  in 
the  Temple,’  known  in  Holland  under  the  name  of  4 Simeon 
in  the  Temple,’  now  in  the  Museum  at  the  Hague.  This 
painting  occupies  a very  important  place  in  Rembrandt’s 
works.  It  is  the  first  of  his  known  paintings  containing 
several  figures,  and  the  treatment  of  the  subject  is  very 
original.  It  differs  from  the  works  of  those  artists  who 
were  accustomed  to  call  themselves  “ historical”  or  “reli- 
gious painters,”  and  has  nothing  in  common  (unless  it  be 
in  the  choice  of  subject)  with  the  religious  paintings  of 
the  old  Italian,  Flemish,  or  Dutch  Schools.  Rembrandt’s 
school  of  historical  painting  is  that  of  Elzheimer,  Lastman, 


REMBRANDT  VAN  RYN. 


09 

Pinas,  TTyttenbroeck,  and  Bramer.  Here,  as  in  his  ‘ St. 
Paul’  of  1627,  his  ‘St.  Jerome’  of  1629,  and  the 
* Philosopher  in  a Cave  ’ of  1630,  Rembrandt  follows  his 
co-religionists  in  art,  in  the  choice  of  subject,  costumes, 
religious  ornaments,  and  architecture,  as  well  as  in  the 
treatment  of  colour  and  strong  shadows. 

In  this  same  year,  1631,  Rembrandt  produced  a painting 
on  a large  scale,  the  figures  nearly  life-size,  taking  for  his 
subject  ‘ The  Household  of  Joseph  and  Mary.’  This 
beautiful  picture,  which  until  now  has  attracted  little 
notice,  shows  that  Rembrandt  was  already  able  to  paint 
large  figures,  as  he  proved  again  in  the  following  year  in 
his  ‘Lesson  on  Anatomy.’  There  is  a great  contrast 
between  the  minute  execution  of  the  ‘ Simeon  ’ and  the 
large  and  broad  touch  in  the  ‘Joseph  and  Mary.’  We 
have  a larger  number  of  portraits  of  this  time.  ‘ The 
Young  Man,’  now  at  Windsor  ; the  ‘ Prophetess  Anna,’  in 
the  Oldenbourg  Gallery  ; the  ‘ Portrait  of  a Man,’  in  the 
Brunswick  Museum — the  last-named  a good  specimen  of 
his  portrait  painting  in  the  style  of  the  ‘ Lesson  on 
Anatomy.’ 

Besides  these  various  works  we  have  about  forty  etchings 
of  this  year  ; twenty  of  them  are  studies  of  old  men’s 
heads,  beggars,  and  various  small  subjects.  Among  them 
are  two  portraits  of  his  mother  representing  the  old  lady 
seated  ; one,  with  her  head  covered  by  a black  veil,  a very 
good  picture  in  the  same  sentiment  as  the ‘Old  Man’  of 
Cassel ; the  other  with  a lace  cap,  the  face  in  profile, 
showing  a great  deal  of  character. 

There  are  various  studies  of  his  own  portrait  of  this 
date.  One  of  them  representing  him  at  half-length,  with 
a broad  hat  and  embroidered  mantle.  His  left  hand  is 


THE  LECTURE  ON  ANATOMY,  BY  PROFESSOR  N1COLAAS  TULP. 

Painted  by  Rembrandt , life-size,  for  the  Guild  of  Surgeons  at  Amsterdam.  Now  at  The  Hague. 


PICTURES  OF  1632. 


23 


visible,  and  gloved  and  covered  with  a frilled  cuff.  The 
head,  with  its  fair  hair,  is  lighted  np  in  a peculiar  manuer. 
This  portrait,  very  delicately  finished  and  of  a fine  soft 
tone,  is  one  of  the  master’s  best  etchings.  It  tells  us  very 
clearly  his  curious  manner  of  working.  The  first  plate 
shows  nothing  but  the  head  perfectly  finished,  without  any 
trace  of  the  body.  He  must  then  have  made  a free-hand 
drawing  on  the  copper  without  any  previous  sketch.  In 
one  of  the  essays  now  at  the  British  Museum  he  has  added 
the  body  in  crayon.  Later  on,  he  bought  back  again  the 
plate  he  had  sold,  but  as  he  advanced  with  the  work  he 
made  it  all  too  black.  The  third  state  is  the  most  perfect 
in  point  of  colour  and  tone. 

Towards  1682  Rembrandt  became  acquainted  with  Claes 
Pieterszoon  Tulp,  a man  of  about  forty  years  of  age,  cele- 
brated as  a doctor,  anatomist,  and  chemist.  From  1628  to 
1653  Tulp  was  the  professor  of  anatomy  in  the  Surgeons’ 
Guild,  and  lectured  twice  a week  in  a room  behind  the 
“ little  hall,”  in  the  Nes.  These  lectures  were  attended 
by  Rembrandt,  who  thus  came  to  be  acquainted  with  the 
professor,  and  when  the  heads  of  the  guild  determined  to 
have  their  portraits  painted,  Tulp  made  choice  of  Rem- 
brandt to  carry  out  the  project.  The  painting  of  large 
pictures  representing  the  chief  men  of  the  guilds  and  cor- 
porations was  a prominent  feature  of  the  Dutch  School, 
but  none  of  these  pictures,  excepting  perhaps  those  of 
Frans  Hals,  have  much  artistic  interest ; and  even  he  has 
not  given  to  his  portraits  the  amount  of  significance  Rem- 
brandt condensed  into  his  ‘ Lesson  on  Anatomy.  The 
idea  of  this  composition  is,  however,  by  no  means  abso- 
lutely new.  Aert  Pietersen  in  1603,  Thomas  de  Keyser  in 
1619,  Nicolaes  Elias  in  1625,  at  Amsterdam,  as  well  as 


24 


REMBRANDT  VAN  RYN. 


Pieter  van  Mirevelt,  at  Delft,  in  1617,  had  all  painted 
similar  subjects  ; but  although  the  works  of  Pietersen  and 
Mirevelt  were  most  probably  present  to  Rembrandt’s 
mind,  the  ‘ Lesson  on  Anatomy  ’ must  be  regarded  as 
original.  The  excellence  of  Rembrandt’s  picture  does  not 
lie  alone  in  the  composition,  the  expression,  and  character 
of  the  admirable  portraits,  or  even  in  beauty  of  colouring 
and  execution.  It  is,  above  all,  the  conception  which  has 
made  this  work  imperishable.  From  this  picture  dates 
Rembrandt’s  fame.  Rembrandt  has  applied  to  this  work 
his  usual  system  of  concentrating  upon  one  point  the 
double  interest  of  the  picture  and  of  its  subject.  As  the 
4 Simeon  ’ is  the  first  of  along  series  of  small  compositions, 
so  the  4 Lesson  on  Anatomy  ’ is  the  type  of  a great  number 
of  portraits.  As  a painter  Rembrandt  made  an  immense  pro- 
gress from  his  * Simeon  ’ to  the  4 Lesson  on  Anatomy.’ 

Among  the  portraits  of  1632  are  ‘ Matthys  Kalkoen,’  one 
of  the  doctors  painted  in  the  4 Lesson  on  Anatomy  ;’  the 
4 Portrait  of  a Man,’  in  the  Fesch  Gallery ; 4 Van  Coppenol,’ 
the  caligraphist,  in  the  Cassel  Gallery,  a man  much  sought 
after  and  flattered  both  by  the  artists  and  poets  of  that 
period;  and  two  beautiful  pictures  of  Jan  Pellicorne  and  his 
son,  and  Madame  Pellicorne  and  her  daughter,  now  in  Sir 
Richard  W allace’s  collection.  In  a small  portrait  of 4 Maurits 
Huygens,’  the  Secretary  to  die  Council  of  State,  the  tone  is 
warmer,  and  the  chiaro-scuro  more  accentuated.  Of  this  year 
are  likewise  the  4 Oriental  standing,’  in  the  Gallery  of  the 
King  of  Holland  ; 4 Jesus  with  Nicodemus  ; * 4 Moses  saved 
from  the  Water  ; ’ the  ‘Rape  of  Proserpine,’  a very  beau- 
tiful picture  in  the  Berlin  Gallery,  and  others. 

Rembrandt  etched  but  few  plates  this  year.  A 4 Man 
on  Horseback;’  a ‘Cottage  with  White  Palings,’  his  first 


PICTURES  OF  1633. 


25 


landscape ; the  ‘ Seller  of  Rat’s  Poison,’  a picturesque  piece 
in  the  style  of  Adrian  van  Ostade  ; ‘ Jesus  being  carried  to 
the  Tomb  ; ’ and  a much  larger  composition,  ‘The  Resurrec- 
tion of  Lazarus,’  mark  the  commencement  of  his  brilliant 
innovations  in  this  branch  of  art. 

For  his  works  of  the  following  year,  1633,  Rembrandt 
chose  his  subjects  chiefly  from  the  Bible.  One  was  a ‘ Su- 
sannah surprised  by  the  Elders  ’ in  the  Youssoupoff  col- 
lection. Very  well  known  also  is  the  picture  ‘ St.  Peter’s 
Vessel  ’ (‘  het  Sint  Pietersscheepje  ’),  which  during  the  seven- 
teenth century  was  in  the  Hinloopen  collection.  The  prow 
of  the  little  vessel  lifted  by  an  enormous  wave  is  flooded 
with  light,  while  the  remainder  of  the  picture  is  enveloped 
in  shadow  and  neutral  tints. 

Three  smaller  pictures  seem  to  be  developments  of  the 
style  of  the  ‘ Simeon.’  Two  of  them,  ‘ The  Raising  the 
Cross,’  and  ‘A  Descent  from  the  Cross,’  were  sold  to  the 
Stadtholder  of  Holland,  Prince  Frederick-Henry,  and  form 
part  of  the  remarkable  series  which  passed  from  the  Dus- 
seldorf  to  the  Munich  Gallery.  In  both  pictures  the  sky 
is  covered  with  clouds.  The  light  is  concentrated  on  Christ 
and  those  around  Him.  The  drawing  is  correct  and  care- 
ful, and  the  execution  very  finished.  There  are  few  colours 
used,  the  general  tone  being  composed  of  brown,  grey,  and 
green.  There  is  a greater  decision  and  boldness  of  manner 
than  in  the  ‘ Simeon.’  The  ‘ Good  Samaritan,’  now  in  Sir 
Richard  Wallace’s  collection,  a charming  little  picture  of 
a warm  tone  and  fine  touch,  is  also  of  this  year,  as  well  as 
two  little  genre  pictures,  now  in  the  Louvre,  each  bear- 
ing the  title  of  ‘ The  Philosopher  in  Meditation,’  and  a 
similar  picture  in  the  Brunswick  Gallery,  ‘ A Philosopher 
Studying.’ 


26 


HEMERANDT  VAN  RIN. 


Among  the  numerous  portraits  of  this  year,  there  is 
one  almost  life-size,  known  nnder  the  name  of  the  ‘ Ship- 
builder,’ now  in  the  possession  of  Her  Majesty,  which  re- 
sembles in  some  degree  the  ‘ Lesson  on  Anatomy,’  and  is 
remarkable  for  its  simplicity  and  harmony  of  effect. 

Of  this  date  also  are  a number  of  heads,  painted  or 
etched  with  a special  object  of  studying  effects  of  light  and 
shade,  in  which  the  only  light  falls  on  a small  part  of  the 
cheek,  nose,  and  shoulder  of  the  subject.  The  etchings  of 
1633,  especially  the  ‘Descent  from  the  Cross,’  the  ‘Good 
•Samaritan,’  and  the  ‘ Flight  into  Egypt,’  are  very  fine  com- 
positions, though  it  is  probable  that  some  of  the  work  was 
filled  in  by  his  pupils.  Rembrandt’s  intimate  acquaintance 
with  the  text  of  the  Bible  is  remarkably  shown  in  the  de- 
tails of  his  works  on  Scripture  subjects. 


THE  DESCENT  FROM  THE  CROSS. 
From  the  etching  by  Rembrandt. 


CHAPTER  IV. 

SASKIA  YAN  ULENBURGH. 

1634  TO  1642. 

REMBRANDT’S  works  are  an  emblem  of  his  life,  deep 
shade  in  the  background,  twilight  grey  on  the  sur- 
roundings, a flood  of  light  on  the  principal  figures.  Such 
a bright  light  is  introduced  into  the  student’s  solitude 
when  a young  and  pretty  woman  is  seen  beside  him,  and 
the.  painter’s  affection  is  at  once  immortalized  by  the  re- 
peated production  of  her  likeness  in  all  his  work.  Some- 
times a young  girl  archly  smiling  ; then  as  the  queen  of  the 
fairies ; then  dressedin  a luxury  of  silks  and  jewels ; or  seated 
on  her  husband’s  knee ; or  presiding  over  his  table  in  the 
dignity  of  a matron — Saskia  van  Ulenburgh  is  the  centre 
of  the  painter’s  world.  Rembrandt  never  wearied  of  this 
model:  as  Queen  Artemisia,  Bathsheba,  the  Jewish  wife, 
or  as  Samson’s  bride,  she  constantly  figures  as  the  beautiful 
inspiration,  for  many  years  brightening  and  cherishing  the 
heart  and  the  fireside  of  the  painter.  Splendid  in  the  fan- 
tastic light  of  his  compositions,  she  shines  upon  the  artist’s 
life  like  a luminous  meteor. 


28 


REMBRANDT  YAN  RYN. 


Saskia  van  Ulenburgh,  the  orphan  daughter  of  Rom- 
bertus  Ulenburgh,5  a Frisian  lawyer  of  high  position,  noble 
birth,  and  considerable  wealth,  was  born  in  1612,  and,  as 
appears  by  the  official  register,  married  Rembrandt  on  the 
10th  June,  1634.  Through  her  brother-in-law,  the  painter 
Wijbrand  de  Geest,  a man  of  wealth  and  influence,  and 
through  her  consin  Hendrik  Ulenbnrgh,  the  publisher  of 
Rembrandt’s  engravings,  Saskia  must  have  become  ac- 
quainted with  the  young  painter,  already  celebrated  as  the 
author  of  the  4 Simeon,’  the  ‘ Lesson  on  Anatomy,’  and  a 
score  of  superb  portraits.  She  was  still  very  young,  and 
Rembrandt,  neither  handsome  nor  polished,  owed  to  the 
lustre  of  his  genius  the  success  of  his  suit. 

Beatrice  is  inseparable  from  Dante,  Mona  Lisa  from 
Leonardo,  Vittoria  Colonna  from  Michelangelo,  and  with 
Saskia  van  Ulenburgh  commences  the  brightest  epoch  of 
Rembrandt’s  life.  Through  his  marriage  with  her  he  en- 
tered a family  distinguished  in  the  Senate,  in  literature, 
science,  and  art.  With  her  he  received  a considerable  for- 
tune. She  created  for  him  the  joys  of  domestic  life.  But 
it  is  also  Saskia  who  shines  in  his  works,  who  gives  life  to 
numerous  portraits  and  furnishes  the  subject  for  so  many 
compositions.  These  figures  are  sometimes  real  portraits, 
sometimes  more  or  less  enveloped  in  the  nimbus  of  his  fancy. 
One  of  the  artist’s  best  portraits  of  her  is  a pencil  drawing 
on  vellum,  in  the  Berlin  Museum.  It  represents  Saskia 
seated,  facing  the  spectator,  resting  on  her  right  arm,  hold- 
ing a flower  in  her  hand,  her  left  arm  supporting  her  head. 
Her  large  hat  throws  a slight  shadow  on  her  forehead,  and 
the  expression  of  her  face  is  pleasing  and  cheerful.  An 
inscription  on  the  margin  of  the  picture  says,  “ dit  is  naer 
myn  huysvrow  geconterfeit  do  sy  21  jaer  oud  was  den  derden 


SASKIA  YAN  ULENBURGH. 


29 


dach  oils  wy  getroudt  waeren  de  8e  junyus  1638.”  “ This  is  a 
portrait  of  my  wife,  when  she  was  21  years  old,  on  the  third 
day  after  onr  marriage,  the  8th  of  June,  1633.”  Rembrandt 
evidently  added  the  inscription  some  time  after  taking  the 
sketch,  and  by  a trick  of  memory  has  confused  the  dates. 
Saskia  was  born  in  1612,  and  was  therefore  twenty-one 
years  old  in  1633,  but  the  date  of  Rembrandt’s  marriage, 
according  to  official  documents,  was  1634,  not  1633. 

In  1632  and  1633  we  have  several  portraits  strongly 
resembling  Saskia,  and  one  about  which  there  can  be  no 
doubt.  This  is  the  picture  in  the  Dresden  Museum,  dated 
1633.  The  head  in  this  portrait  is  slightly  inclined,  the 
long  chestnut  curls  are  covered  by  a cherry-coloured  bon- 
net, ornamented  with  white  feathers.  The  light  falling 
on  the  figure  from  above  illuminates  the  rim  of  the  bonnet 
and  the  lower  part  of  the  face,  while  the  forehead  is  covered 
by  the  shadow  thrown  by  the  hat.  She  is  smiling  at  the 
spectator,  but  the  expression  is  not  pleasing,  nor  is  the  smile 
agreeable. 

In  the  same  year  Rembrandt  painted  the  large  portrait 
in  the  Cassel  Gallery.  In  this  picture  Saskia  is  very  richly 
dressed  and  covered  with  a profusion  of  pearls  and  precious 
stones.  The  face,  a delicate  profile  of  a bright,  fresh  colour 
drawn  against  a dark  brown  background,  is  entirely  in  the 
light,  almost  without  shadows.  Intended  for  Saskia’s 
family,  who  would  prefer  a careful  execution  to  artistic 
freedom,  which  might  have  seemed  to  them  a little  careless 
and  rude,  this  portrait,  though  a remarkable  painting, 
finished  with  extreme  care,  masterly  in  its  detail,  and 
painted  with  a precise  touch,  does  not  exercise  the  same 
irresistible  fascination  over  us  as  some  others  of  the  mas- 
ter’s portraits. 


30 


REMBRANDT  VAN  RTN. 


Saskia  was  also  a favourite  subject  for  his  etchings,  and 
in  one  of  the  date  of  1636,  we  have  a charming  picture  of 
his  domestic  life.  It  represents  Rembrandt  seated  at  a 
table  drawing  with  a pencil,  and  Saskia  seated  opposite  to 
him.  In  1639  she  appears  again  as  the  centre  of  a group 
of  six  heads.  In  all  these  pictures  she  is  beaming  with 
happiness  and  health,  beautifully  dressed  and  wearing  a 
profusion  of  jewels.  Saskia  figures  also  as  the  model  of 
many  of  her  husband’s  paintings  and  etchings  of  biblical 
and  mythological  subjects. 

The  extraordinary  hold  that  Rembrandt’s  method  took 
upon  the  school  of  his  day,  is  evident  not  only  from  the 
numerous  engravers  who  devoted  themselves  to  the  repro- 
duction of  his  works,  but  also  from  the  number  and  eminence 
of  the  pupils  and  imitators  who  thronged  his  studio,  and 
who  scrupulously  followed  his  footsteps.  Among  these 
Gerard  Dou,  Salomon  Koninck,  Lievens,  Yan  Yliet,  Ferdi- 
nand Bol,  Jacob  Backer,  and  Flinck  form  a school  of  sin- 
gular uniformity.  It  appears  to  have  been  Rembrandt’s 
custom  to  give  the  same  subject  to  each  of  his  pupils  suc- 
cessively, and  those  who  wished  to  study  Rembrandt’s  sys- 
tem applied  themselves  to  a repetition  of  these  subjects. 

The  year  of  Rembrandt’s  marriage,  1634,  was  fertile  in  im- 
portant works,  among  which  are  the  ‘ Artemisia  ’ of  Madrid, 
‘St.  Thomas  ’ of  the  Hermitage,  ‘St.  Peter,’  ‘Judas,’  and 
a larger  ‘ Descent  from  the  Cross.’  Among  the  portraits 
of  this  year  are  three  life-size,  of  which  that  of  ‘ Martin 
Day’4  is  the  most  remarkable  for  life-like  expression  of  the 
figure  and  the  management  of  the  various  tones  of  black  in 
the  costume,  relieved  only  by  the  white  of  lace  and  reflected 
lights  of  silver.  This  portrait  has  much  in  common  with 


SASKIA  VAN  ULENBURGH,  REMBRANDT’S  WIFE. 
From  a drawing  by  Rembrandt  in  the  Berlin  Museum. 


THE  PICTURES  OF  1634. 


31 


the  ‘ Lesson  on  Anatomy.’  A similar  portrait  is  that  of  the 
poet  Krul,  a grave  and  simple  personage,  whose  character 
appears  to  have  given  to  the  artist’s  style  an  unusual  degree 
of  sobriety  and  carefulness.  Among  other  portraits  of  this 
year  are  several  of  his  own,  which  show  great  freedom  of 
treatment.  In  the  portraits  of  others  he  was  restricted 
more  or  less  by  the  tastes  of  his  clients,  who  objected  to 
intensities  of  colour  which  they  did  not  understand;  but 
with  his  own  features  he  could  do  as  he  liked,  and  these 
portraits  may  be  regarded  as  sportive  experiments,  in  which 
he  learned  a thousand  new  effects  of  light  and  costume,  re- 
finements of  colour  and  touch. 

Among  fifteen  etchings  of  this  same  year  are  several  of 
himself ; the  most  celebrated  is  that  which,  though  long 
called  ‘ A Portrait  of  Rembrandt,’  is  now  known  as  the 
‘ Portrait  of  a Man  with  a Sabre.’  This  is  one  of  the  finest 
of  all  his  works.  Of  this  year  is  also  the  celebrated  etching 
‘ The  Angels  appearing  to  the  Shepherds : ’ this  is  a night 
effect,  with  a mass  of  trees  on  the  right  hand  and  a distance 
in  which  a city  is  seen,  with  its  factories  and  bridges  in  a 
nest  of  foliage  and  fires  reflected  in  water.  In  the  fore- 
ground the  shepherds  and  their  flocks  are  alarmed  by  the 
sudden  appearance  of  the  Celestial  Grlory ; in  the  luminous 
circles  of  which  thousands  of  cherubim  are  flying,  an 
Angel  is  advancing,  and  with  the  right  hand  raised  is  an- 
nouncing the  News  to  the  shepherds.  The  whole  com- 
position is  wonderful  for  the  energy  it  displays,  and  appears 
as  if  it  had  been  thrown  on  the  copper  with  swift,  nervous, 
inspired  touches,  but  always  accurate  and  infallible. 

The  succeeding  seven  years  of  Rembrandt’s  life  offer  but 
few  incidents  for  the  biographer ; it  was  a life  of  ouiet  in- 


32 


REMBRANDT  VAN  RYN. 


dustry  untroubled.  In  December,  1635,  Saskia  bad  a son. 
whom  she  christened  Rombertus,  after  her  father,  but  this 
child  died  young.  The  painter  and  his  wife  had  a plea- 
sant home,  plenty  of  friends,  and  a good  income. 

Amongst  the  large  canvases  attributed  to  1635,  the  ‘Sa- 
crifice of  Abraham  ’ is  of  doubtful  authenticity.  Another 
historical  picture,  wrongly  called  ‘Adolphus  of  Gueldres 
threatening  his  Father,’  is  really  ‘ Samson  menacing  his 
Father-in-law.’  We  have  several  other  subjects  of  this 
period  taken  from  the  life  of  Samson,  and  one  of  the  ‘ Rape 
of  Ganymede.’  All  these  pictures  show  the  independent 
spirit  in  which  Rembrandt  treated  such  compositions,  and 
his  perfect  freedom  from  the  conventional  types  of  the 
Italian  School.  He  seized  the  human  sympathies  of  his 
subject,  and  painted  natural  men,  expressing  various 
passions  in  a natural  manner,  instead  of  supernatural 
heroes,  conforming  their  modes  of  expression  to  an  estab- 
lished rule.  His  paintings,  ‘ Samson  blinded  by  the  Philis- 
tines,’ 1636,  and  the  ‘Feast  of  Samson,’  in  1638,  are  with 
the  ‘ Simeon,’  the  ‘ Lesson  on  Anatomy,’  the  ‘ Sortie  of  the 
Banning  Cock  Company,’  which  has  long  been  known  as 
‘ The  Night-watch  ; ’ ‘ Jacob’s  Blessing,’  ‘ The  Syndics,’ 
and  the  ‘Marriage  of  Samson,’  all  typical  works,  stand- 
ing out  among  the  painter’s  other  productions  like  the 
turrets  of  churches  over  the  roofs  of  a large  city.  Each 
of  them  illustrates  in  a special  manner  some  one  or  more 
remarkable  characteristic  of  Rembrandt’s  work,  or  some 
particular  stage  of  his  advance  in  art,  and  it  is  by  the 
careful  study  of  these  grand  paintings  that  the  peculiar 
merits  of  the  master  can  be  best  appreciated. 

Another  picture,  of  the  date  1638,  now  in  the  Dresden 
Gallery,  pleasantly  characteristic,  not  of  the  artist  only, 


PICTURES  OF  1638. 


33 


but  of  the  friendly,  sympathetic  man,  painted  in  his 
happiest  mood,  is  that  of  Rembrandt  himself  at  home, 
with  Saskia  on  his  knee.  The  figures  are  life-size,  bril- 
liantly dressed  and  full  of  an  expression  of  enjoyment. 
The  special  merit  of  this  picture  lies  in  the  richness  and 
harmony  of  its  colouring,  but  it  is  interesting  to  us  for  the 
introduction  it  gives  into  the  pleasant  home  life  of  the 
painter.  The  smaller  paintings  of  this  period  are  many  in 
number,  and  offer  remarkable  proofs  of  the  pliability  of  his 
genius,  the  versatility  of  his  style  and  his  inexhaustible 
invention.  Each  one  shows  a new  feature  of  the  painter’s 
talent,  they  continue  the  series  that  is  begun  by  the 
‘ Simeon.’  An  admirable  succession  which  bears  its  own 
decided  hall-mark,  and  which,  like  some  of  the  master’s 
etchings,  is  characterized  by  a feeling  and  a love  of  nature 
approaching  to  what  is  often  described  as  “romantic.” 

The  portraits  of  this  period  (1638),  in  number  about 
twenty,  are  always  admirable  for  force  of  expression, 
accurate  delineation  of  features,  life  and  spirit.  About  five 
years  before  we  had  new  effects  of  light,  greater  freedom  of 
treatment,  and  a warmer  tone  than  in  the  works  of  earlier 
years.  One  remarkable  picture  represents  two  richly 
dressed  persons  walking  in  a landscape,  of  a Spanish  or 
Venetian  character:  they  are  probably  intended  for  the 
painter  and  his  wife  in  a dreamland  of  his  own  imagination. 

Rembrandt’s  sketches  from  nature  are  for  the  most 
part  mere  aids  to  memory,  thrown  on  to  the  paper  with  a 
coarse  pen,  a few  light  dashes  of  colour,  or  a few  strokes 
of  the  pencil.  A remarkable  series  of  these  is  devoted  to 
the  illustration  of  the  history  of  Tobias,  a subject  much  in 
vogue  with  Elzheimer  and  his  school.  In  the  meantime 
an  ample  harvest  of  etchings  had  been  produced.  Among 

D 


34 


REMBRANDT  VAN  RYN. 


the  portraits  was  that  of  Johannes  Uytenbogaerd,  a cele- 
brated theologian,  and  another  of  Manasseh  Ben  Israel,  an 
eminent  Babbi,  who  founded  the  Hebrew  printing-press  at 
Amsterdam.  Both  of  these  distinguished  men  appear  to 
have  been  personal  friends  of  the  painter. 

But  the  most  celebrated  etching  of  this  time  is  the 
‘ Ecce  Homo.’  This  is  a marvellous  composition,  consist- 
ing of  an  immense  number  of  figures,  admirably  disposed. 
Our  Lord  is  seen  in  front,  standing,  surrounded  by  guards. 
His  eyes  are  raised  to  heaven;  His  hands  are  manacled 
and  clasped  together ; and  on  His  head  is  the  crown  of 
thorns.  It  is  one  of  the  painter’s  grandest  works. 

Bembrandt  was  always  busy,  and  we  learn  from  Hou- 
braken  that  his  works  were  much  sought  after  and  well  paid 
for.  He  was  already  beginning  to  form  his  famous  collec- 
tion of  art  treasures.  Nothing  gave  him  greater  pleasure 
than  seeking  about  in  market-places  and  antiquarian  shops 
for  curiosities  and  objects  of  art  of  all  kinds.  We  can  be- 
lieve that  no  auction  passed  that  he  did  not  attend,  and  his 
house  began  to  be  filled  with  old  and  curious  furniture, 
his  walls  to  be  covered  with  beautiful  and  costly  pictures, 
and  his  portfolios  to  be  filled  with  rare  engravings. 

In  July,  1638,  a daughter  was  born  to  him,  to  whom 
one  of  his  wife’s  sisters,  Titia,  stood  godmother;  the  child 
received  the  name  of  Cornelia  ( Neeltje ),  after  the  painter’s 
mother ; but  she  died  in  August.  Since  his  marriage  Bem- 
brandt had  inhabited  a handsome  house  in  the  Breedstraat, 
but  about  the  year  1636  he  left  it,  as  we  learn  from  a letter 
that  he  wrote  about  this  time  to  Huygens,  the  Prince’s 
secretary,  petitioning  for  a more  prompt  payment  of  the 
price  of  his  work,  where,  he  adds,  that  he  now  lives  next 
door  to  Lyonaeus  Boereel,  in  the  Nieuwe  Doelstraat.  But 


FAMILY  LAWSUITS. 


35 


in  1639  he  again  moved,  this  time  to  the  Binnen-Amstel, 
a newly-built  quay,  situated  at  the  extremity  of  the  town, 
in  the  house  named  u de  Suijckerbackerij  ” (Sugarbakery). 

Great  changes  had  taken  place  in  his  family  since  Rem- 
brandt  had  left  Leyden.  His  father,  Harmen  van  Ryn,  died 
in  1632  ; and,  of  his  brothers  and  sisters,  Gerrit,  Machteld, 
and  Cornelis  were  dead,  and  his  widowed  mother  lived 
alone  with  her  unmarried  daughter  Lijsbeth.  Her  eldest 
son,  Adriaen,  was  settled  with  his  family  in  his  mill  on  the 
bank  of  the  Rhine,  not  far  from  her  house  ; and  Willem, 
who  was  established  as  a baker  at  Leyden,  was  also  mar- 
ried. In  the  month  of  January,  1638,  commenced  a series 
of  lawsuits  between  Rembrandt  and  several  members  of 
Saskia’ s family.  One  of  them  contains  a document  dated 
July  16th,  1638,  offering  rather  curious  details,  from  which 
it  appears  that  the  previous  lawsuits  had  rather  ruffled  the 
tempers  of  both  parties.  Rembrandt,  advised  by  his  brother- 
in-law,  the  advocate  Ulricus  Ulenburgh,  declares  “ that  he 
and  his  wife  were  richly  and  ex  super  abundantia  provided 
with  goods,  for  which  they  could  never  be  sufficiently 
thankful  to  the  Almighty ; notwithstanding  which  the 
defendants  had  permitted  themselves  to  insinuate  that  his 
wife,  Saskia,  had  squandered  her  patrimony  in  parade  and 
ostentation.”  He  declares  this  to  be  an  insult,  “which, 
thank  God,  is  entirely  contrary  to  the  truth.”  He  demands 
that  the  court  condemn  the  defendants  to  pay  to  him  and 
to  his  wife  an  indemnity  for  the  slander  of  sixty-four  goud- 
guldens  each  (about  £7).  The  defendants  answered 
that  neither  Rembrandt  nor  Saskia  had  been  named  in 
the  arraigned  document ; only  Jeltie  Ulenburgh  had  been 
named ; and  that  the  words  which  the  advocate  Ulenburgh 
would  construe  an  insult,  were  used  without  any  intention 


36 


REMBRANDT  VAN  RYN. 


of  injury.  Nevertheless,  if  the  plaintiffs  felt  themselves 
injured,  they  were  willing  to  pay  them  eight  goudguldens, 
which  was  enough  to  satisfy  a painter  and  his  wife,  who 
were  only  private  persons  (sijnde  maer  een  schilder  ofte 
schilders-vrouw , ends  alsoo  jprivaat  personen).  The  court  de- 
cided that  there  was  no  insult  in  the  case,  and  declared  the 
plaintiff  non-suited. 

The  first  little  Cornelia  had  died  in  her  cradle,  and  her 
parents  gave  the  same  name  to  another  daughter,  who  was 
born  and  baptized  in  July,  1640.  But  this  child  also  died 
young.  In  the  following  year  a son  was  born,  who  was 
christened  in  September,  receiving  the  name  of  Titus,  after 
Saskia’s  sister  Titia,  who  died  during  this  year. 

Of  all  Rembrandt’s  many  pictures  of  his  mother  there  is 
none  more  beautiful  than  the  one  he  painted  in  1639,  a 
year  before  her  death.  It  is  now  in  the  Museum  at 
Vienna.  It  is  a charming  portrait,  very  minutely  finished, 
representing  her  in  a furred  cloak  with  the  hood  thrown 
over  her  head,  and  resting  her  folded  hands  on  a staff. 
He  painted  her  again  about  this  time,  reading  from  a large 
book,  her  face  lighted  up  by  the  reflection  of  the  paper. 
She  was  about  seventy  years  old  when  she  died  at  Leyden, 
in  the  September  of  1640.  In  1634  she  had  made  her  will, 
containing  several  clauses  in  favour  of  her  eldest  son, 
Adriaen,  and  her  estate  was  distributed  on  the  2nd  of 
November  by  the  lawyer  Adriaen  Paedts,  among  whose 
papers  several  interesting  documents  relating  to  the  Van 
Ryn  family  have  been  found.  Of  all  Harmen  and  Neeltje 
van  Ryn’s  children,  Adriaen,  Willem,  Rembrandt,  and  Lijs- 
beth  alone  survived  their  mother.  She  left  a very  con- 
siderable fortune,  chiefly  in  house  property,  amounting 
in  all  to  about  9,960  florins,  a large  sum  for  those  days. 


REMBRANDT’S  MOTHER. 

From  the  painting  by  Rembrandt  in  ‘ The  Hermitage,’  St.  Petersburg. 


BEGINNING  OF  TROUBLES. 


37 


Rembrandt  inherited  for  his  share  a bond  for  the  value  of 
the  half  of  Adriaen’s  mill,  for  which  the  latter  was  in  his 
mother’s  debt.  This  bond  was  made  payable  at  the 
rate  of  300  florins  a year.  As  it  “ did  not  suit  him  to 
stay  in  the  town  until  he  conld  sell  the  paper,”  Rembrandt 
transferred  it  on  the  day  he  received  it  to  his  brother 
Willem  and  his  nephew  Jans  van  der  Pliiym  to  sell  for 
him.  It  is  evident  that  Rembrandt  must  have  been  in 
great  want  of  money  to  be  in  such  a hurry  to  get  rid  of 
this  paper,  by  the  sale  of  which  he  must  necessarily  have 
lost  considerably.  And  yet  the  year  before,  after  writing 
to  Huygens  as  if  in  great  distress  for  want  of  the  amount 
the  Prince  owed  him  for  two  of  his  works,  he  received  a 
considerable  sum.  His  wife  had  a good  fortune,  he  himself 
worked  hard,  was  well  paid,  and  had  many  pupils.  But 
whether  it  was  his  mania  for  buying  paintings  and  art 
objects  that  led  him  into  great  extravagances,  or  that  he 
had  not  the  talent  for  managing  his  affairs  well,  one  thing 
is  certain,  that  he  was  always  in  want  of  ready  money. 
About  this  time,  however,  he  bought  a large  house  in  the 
Jodenbreedstraat,  a continuation  of  Breedstraat,  to  which 
he  at  once  moved,  and  it  is  probable  that  he  may  have  been 
called  upon  to  pay  more  for  it  than  he  had  anticipated.  In 
this  house  Rembrandt  lived  for  eighteen  years. 

Of  the  three  branches  of  the  painter’s  art  to  which  Rem- 
brandt’s genius  were  especially  devoted — portrait  paint- 
ing, cabinet  pictures,  and  life-sized  canvases — we  find  the 
three  distinct  types  at  the  commencement  of  his  career  in 
his  early  portraits,  in  the  ‘ Simeon  in  the  Temple,’  and  in 
the  ‘ Lesson  on  Anatomy.’  These  three  branches  are  de- 
veloped with  a steady  increase  of  power,  of  design,  and  a 


38 


REMBRANDT  VAN  RYN. 


profounder  study  of  nature,  a touch  always  growing  in 
freedom  and  breadth  ; increasing  boldness  in  his  interpre- 
tation of  the  feeling  of  his  lights  and  shadows,  and  new 
resources  in  the  treatment  of  his  subject. 

During  the  years  1640,  ’41,  and  ’42  Rembrandt  produced 
a number  of  very  remarkable  portraits,  among  them  that 
known  as  ‘ Le  JDoreur ,’  which,  in  reality,  is  a portrait 
of  his  friend  the  artist  Domer,  noted  for  the  sunshine  in 
his  pictures  ; a portrait  of  great  expression,  displaying  a 
wonderfully  warm  and  golden  colouring.  Another  magni- 
ficent portrait  in  the  National  Gallery,  excellent  in  design 
and  tone,  represents  the  painter  himself,  attired  as  a man 
of  importance  in  a black  cap  and  furred  robe,  leaning  with 
crossed  arms  on  a window-sill.  The  execution  is  very  fine. 
Avery  delicate,  warm  light  falls  from  above  on  part  of  the 
forehead,  cheek,  nose,  and  white  shirt.  It  is  one  of  the 
portraits  of  this  period  in  which  the  artist  shows  a more 
poetic  feeling  than  in  those  from  1630-40,  where  the  style 
is  far  more  prosaic  and  historic.  Another  portrait  of  this 
period  in  the  same  style  is  the  superb  ‘Woman  with  the 
Fan,’  of  Buckingham  Palace,  representing  a very  beautiful 
woman,  dressed  in  the  extremely  rich  costume  of  the 
period.  In  this  picture  the  touch  is  very  soft,  the  tone  is 
golden,  and  the  shadows  of  a soft  grey  and  clear  brown 
tone.  The  pendant  to  this  picture,  representing  the  lady’s 
husband  and  painted  more  in  the  style  of  the  ‘ Lesson  on 
Anatomy,’  is  in  the  Museum  at  Brussels. 

In  1641  Rembrandt  painted  a large  picture  representing 
the  preacher  Anslo,  a friend  of  the  artist  and  his  wife. 
The  painting  in  its  simple  and  natural  harmony  of  colour 
bears  a strong  resemblance  to  the  ‘ Shipbuilder  ’ of  1633. 

Two  portraits  in  the  Munich  Gallery,  dated  1642 — the 


PICTURES  OF  1642. 


39 

‘Lady’  in  the  Berlin  Gallery,  and  the  ‘Lady’  in  the  Cassel 
Gallery  of  the  same  date,  both  very  finished,  beautiful  in 
colouring,  and  almost  bearing  out  in  their  strange  rich 
dress  Houbraken’s  assertion,  that  Rembrandt  spent  hours 
and  even  days  in  the  arrangement  of  his  costumes — indicate 
in  their  execution  and  colouring  the  painter’s  approach 
towards  his  great  masterpiece  ‘The  Sortie.’  But  there 
are,  above  all,  two  portraits  of  this  period  that  deserve  es- 
pecial notice.  These  are  two  of  Saskia,  one  at  Dresden,  the 
other  at  Antwerp.  The  first,  dated  1641,  represents  Saskia 
in  all  the  freshness  of  her  beauty,  seen  through  the  prism 
of  love  and  art ; in  her  rich  dress,  fresh  colour,  and  bright 
smile,  bearing  a strong  resemblance  to  the  Saskia  on  her 
husband’s  knee.  It  is  difficult  to  imagine  a more  charm- 
ing and  amiable  face,  or  a portrait  more  happy  in  colour 
and  expression.  The  work  is  very  carefully  finished  with- 
out being  minute,  the  tone  profound,  the  touch  broad  and 
melting.  No  greater  contrast  can  be  conceived  to  this 
picture  bathed  in  light,  radiant  with  happiness  and  health, 
than  the  ‘ Saskia  ’ of  Antwerp.  This  portrait  has  an  inde- 
finable charm.  The  very  soul  of  the  painter  seems  to  have 
entered  into  the  picture,  to  which  a melancholy  interest  is 
attached.  It  bears  the  same  date  as  the  year  of  Saskia’s 
death,  1642.  The  face  no  longer  shows  the  serene  beauty 
of  youth  and  strength,  but  its  etherealized  and  delicate 
features  have  a thoughtful  and  dreamy  expression.  It 
was  probably  painted  from  memory  after  Saskia’s  death. 

Among  the  cabinet  pieces  of  this  period  is  the  little 
gem  of  the  Louvre  Gallery,  ‘ The  Carpenter’s  Household,’ 
representing  the  home  of  Joseph  and  Mary.  This  picture 
bears  no  resemblance  to  the  grand  conceptions  by  the 
Italian  masters  of  the  mystic  mother  of  God,  but  treats 


40 


REMBRANDT  VAN  RYN. 


the  subject  wholly  in  its  human  character.  It  would  be 
impossible  to  render  more  happily  the  charm  of  a mother 
in  the  midst  of  the  simple  and  natural  happiness  of  a home. 
In  the  regular  features  and  slender  fingers  of  Mary  we 
meet,  not  for  the  first  time,  traces  of  the  impression  the 
beautiful  Italian  engravings  had  made  upon  Rembrandt. 
The  colouring  of  this  painting  is  intensely  warm  ; the  light 
falling  full  upon  the  mother  of  Mary,  Mary  herself,  and 
the  Child,  leaving  Joseph  in  a neutral  tint. 

Another  beautiful  little  painting  of  the  same  period, 
displaying  a sentiment  similar  to  that  of  ‘ The  Carpenter’s 
Household,’  is  the  ‘Visit  of  Mary  to  Elisabeth,’  in  the  col- 
lection of  the  Duke  of  Westminster.  This  little  picture 
is  chiefly  remarkable  for  the  wonderfully  harmonious  blend- 
ing of  warm  and  cool  tones,  and  the  delicacy  of  expression 
combined  with  a fine  effect  of  light. 

In  the  painting  representing  ‘ Ruth  and  Boaz,’  the  large 
space  occupied  by  the  landscape  in  proportion  to  the  figures, 
who  are  standing  in  the  corner  in  a red-brown  shadow,  is 
noteworthy.  The  light  falls  full  upon  the  plain,  the  fields 
are  dotted  by  small  groups  of  trees,  and  the  whole  is  covered 
by  a clouded  sky  of  grey  and  gold.  This  is  one  of  the  first 
specimens  we  have  of  Rembrandt’s  landscapes. 

A number  of  the  etchings  of  this  period  represent  Scrip- 
ture subjects,  including  ‘ The  Presentation  in  the  Temple  ;’ 
the  ‘Death  of  the  Virgin;’  the  ‘Adoration  of  the  Shep- 
herds ;’  the  smaller  ‘ Resurrection  of  Lazarus  ;’  ‘ The  Vir- 
gin and  Holy  Child  in  the  Clouds,’  a subject  the  master  has 
seldom  treated ; ‘ The  Triumph  of  Mordecai,’  a composition 
full  of  expression  and  movement ; two  of  St.  Jerome,  one  in 
an  interior,  strongly  resembling  the  ‘ Meditating  Philoso- 
pher,’ of  the  Louvre;  the  ‘Angel  Quitting  Tobias, ’and  others. 


CORNELIS  CLAESZ  ANSLO. 
From  the  etching  by  Rembrandt . 


^ ' 


PICTURES  OF  1641. 


41 


Among  the  portraits  were  that  of  Uytenbogaerd,  the 
banker,  known  as  4 The  Gold-weigher ; ’ his  own  portrait, 

4 Rembrandt  leaning  on  a stone  sill and  4 Cornelis  Anslo,’ 
the  preacher.  Among  the  landscapes  were  4 A Yiew  of 
Amsterdam  ’ and  the  plate  known  as  4 Rembrandt’s  Mill.’ 

We  have  three  etchings  of  Lion  Hunts  of  the  same 
time.  The  largest  of  these  does  not  yield  place  to  the  hunt- 
ing scenes  of  Rubens,  or  the  battle  sketches  of  Lionardo. 
It  is  full  of  life,  in  which  a bold  hand  urged  by  fancy 
has  traced  the  subject  in  vivid  outline.  The  other  Hunts 
aim  more  at  effects  of  light.  The  animals  of  all  three 
pieces  are  admirable ; simply  drawn  in  a few  thin  lines, 
but  with  infallible  truth. 

Three  large  works  bear  the  date  of  1 641  and  ’42.  The 
4 Susannah,’  4 Manoah’s  Sacrifice,’  and  4 The  Sortie  of  the 
Banning  Cock  Company.’ 

In  the  splendid  painting 4 Manoah’s  Sacrifice,’  now  in  the 
Dresden  Gallery,  Manoah  and  his  wife  are  represented 
kneeling,  raising  their  clasped  hands,  the  departing  angel, 
crowned  with  a wreath  of  flowers,  is  scarcely  visible,  and 
but  feebly  illuminated.  There  is  in  this  picture,  painted 
with  a broad  touch,  a noble  sentiment ; the  expression  on 
the  faces  of  Manoah  and  his  wife,  as  well  as  the  general 
tone  of  the  picture,  fill  the  whole  work  with  an  air  of  gran- 
deur and  mystery.  In  execution  it  closely  approaches  4 The 
Sortie ; ’ the  composition  strongly  resembles  the  etching 
of  the  4 Angel  quitting  Tobias  ’ of  the  preceding  year. 

During  all  this  time  the  painter  was  elaborating  one  of 
those  great  works,  which  gathering  together  all  that  the 
master’s  talent  has  been  capable  of  during  that  epoch  is 
alone  sufficient  to  insure  his  fame. 


42 


REMBRANDT  VAN  RYN. 


The  year  1642  is  a culminating  point  as  well  in  the 
career  of  the  artist  as  the  life  of  the  man ; containing 
as  it  does  at  once  the  strongest  light  and  the  deepest 
shadow — the  artist’s  highest  triumph — the  man’s  greatest 
loss.  Turning  first  to  the  light,  it  was  in  this  year  that 
the  artist  completed  his  great  work,  known  under  the 
erroneous  name  of  ‘The  Night-watch,’  or  ‘The  Amsterdam 
Musketeers,’  but  more  properly  called  ‘ The  Sortie  of  the 
Company  of  Frans  Banning  Cock.’ 

It  is  well  known  that  this  work  has  no  connection  either 
with  a watch  or  with  the  night.  The  painting  is  not  men- 
tioned under  this  name  by  any  of  the  older  Dutch  authors  or 
critics  ; it  is  entirely  inaccurate,  and  was  first  given  to  it  by 
the  French  writers  of  the  eighteenth  century,  who  called  it 
‘ Le  Guet,’  or  ‘ Patrouille  de  nuit,’  and  Sir  Joshua  Reynolds 
followed  their  error  by  calling  it  ‘The  Night-watch.’  Never- 
theless, a superficial  observer,  especially  one  but  little  ac- 
quainted with  Rembrandt’s  works,  might  be  led  to  think  of 
a night  effect.  The  painting  was  so  “obscured  by  oil  and 
varnish,  that  it  seemed  to  have  been  tarred,”  so  writes  an 
artist  bearing  the  honoured  name  of  Yan  Dyck  in  1758. 
It  was  he  who  cleaned  it  and  discovered  in  the  background 
the  shield  containing  the  names  of  the  persons  represented. 
He  perfectly  understood  the  painter’s  intention  to  produce 
“ a strong  sunlight.” 

But  although  time  and  varnishers  have  aided  to  dim  the 
picture,  it  was  originally  painted  in  a dark  tone.  There 
is  an  interesting  proof  of  this  in  the  following  lines 
by  Samuel  van  Hoogstraten,  Rembrandt’s  pupil,  who  in 
his  “Introduction  to  the  Academy  of  Painting”  in  1678, 
writes  on  the  composition  and  arrangement  of  this  subject : 

“ It  is  not  enough  that  a painter  ranges  his  personages 


THE  SORTIE  OF  BANNING  COCK. 


43 


side  by  side,  as  one  so  frequently  sees  done  here  in  Holland 
in  the  doelens  of  the  arquebusiers.  True  masters  insist 
upon  unity  in  their  works.  Rembrandt  has  closely  observed 
this  rule  in  his  painting  of  the  doelen  at  Amsterdam,  too 
closely,  according  to  the  opinion  of  some;  for  he  is  far 
more  occupied  with  the  full-face  or  principal  group,  that 
has  his  preference  (liet  groote  beeld  zijner  verkiezinge),  than 
with  the  series  of  portraits  that  were  ordered  of  him. 
And  nevertheless  this  same  work,  whatever  there  is  to  say 
against  it,  will,  according  to  my  way  of  thinking,  maintain 
itself  longer  than  similar  works ; for  it  is  so  picturesque, 
so  beautiful  in  its  arrangement  and  so  powerful  ( zoo  schil - 
derachtig  van  gedachte , zoo  zwierig  van  strong  en  zoo  kraclitig) 
that  by  its  side,  according  to  the  opinion  of  many,  other 
canvases  look  like  playing-cards.  Nevertheless  I could 
have  wished  a little  more  light.”  How  well  this  passage 
describes  the  place  held  by  the  great  artist  in  the  opinions 
of  his  own  time  ! Rembrandt  is  always  wrong  in  the 
opinion  of  his  contemporaries.  Paid  to  make  a frameful 
of  portraits  in  which  every  person  represented  should  re- 
ceive his  own  proper  share  of  light,  he  sacrifices  his  clients 
to  his  chiaro-scuro,  and  produces  an  immortal  painting 
instead  of  twenty  portraits.  He  did  the  same  in  his  ‘ Lesson 
on  Anatomy and  that  is  no  doubt  the  reason  why  he 
was  seldom  chosen  to  paint  that  class  of  works. 

The  “Civic  Guards  ” had  been  painted  a hundred  times 
before,  seated  in  a row  behind  a table,  or  marching  along 
stiflBy  in  single  file ; but  Rembrandt  first  conceived  the 
idea  of  catching  them  as  they  hurried  out  pele-mele  at  the 
sound  of  the  drum  to  practice.  He  carried  out  this  idea 
in  a composition  replete  with  life  and  light ; ‘ The  Sortie  of 
the  Banning  Cock  Company  ’ is  the  brilliant  result.  The 


44 


REMBRANDT  VAN  RYN. 


scene  of  this  spirited  picture  is  the  outside  of  the  public 
building  from  which  the  guards  issue.  Captain  Banning 
Cock  and  his  lieutenant  have  come  out  first.  They  are 
followed  by  the  ensign  displaying  the  standard  with  the 
orange,  white,  and  blue  colours  of  Amsterdam,  and  the 
sergeants  with  their  halberds.  The  drummer  is  beating 
the  rappel  in  the  right-hand  corner  in  front,  a dog  is  barking 
at  his  heels,  and  the  guards  armed  with  arquebuses  and 
pikes  are  crowding  through  the  door.  The  painter  has 
chosen  the  moment  of  hurry-scurry  and  general  anima- 
tion for  his  picture,  and  no  work  is  more  indicative  of  his 
greatest  quality — that  of  seizing  on  a subject,  and  by  the 
creative  force  of  his  genius,  and  his  characteristic  drawing 
and  dazzling  colours  making  it  his  own,  and  inspiring  it 
with  life. 

A well-defined  succession  of  Rembrandt’s  previous  works 
shows  his  gradual  advance  towards  the  qualities  of  this 
picture,  in  which  the  innumerable  gradations  of  colour 
and  tone  blend  into  a symphony  as  brilliant  as  one  by 
Beethoven.  Some  critics  have  found  the  light  capricious 
and  arbitrary.  The  work  of  an  original  and  independent 
master  will  always  have  much  that  appears  strange  at 
first  sight,  but  is  often  found  to  be  true  to  nature  when  it 
is  properly  studied.  In  the  fantastic  lights  and  colours  of 
Rembrandt  there  is  no  more  caprice  than  in  the  drawing  of 
Michelangelo,  or  the  composition  of  Veronese. 

Captain  Banning  Cock  himself  was  not  contented  with 
Rembrandt’s  work.  His  face  perhaps  was  too  red,  or  his 
coat  too  dark.  His  portrait  and  that  of  his  wife  were 
painted  soon  after  by  Van  der  Heist;  and  himself  at  the 
head  of  his  guards  by  Grerrit  Lundens.  But  while  these 
two  pictures  have  disappeared,  that  which  was  not  good 


I 


THE  SORTIE  OF  THE  BANNING  COCK  COMPANY. 


HIS  PUPILS. 


45 


enough,  for  the  valiant  captain  has  made  his  name  and  that 
of  his  company  imperishable. 

Of  the  painter’s  triumph  we  have  spoken  here.  Of  the 
man’s  terrible  loss  the  next  chapter  will  tell. 

Rembrandt’s  principal  pupils  of  this  period  were  La  Yecq, 
Ovens,  Paudiss,  Yerdoel,  Hendrik  Heerschop  (both  in 
painting  and  etching  a good  imitator  of  his  master),  and 
Drost — respecting  whose  name  and  history  some  mystery 
exists — an  important  painter,  principally  of  the  subjects 
which  Rembrandt  was  in  the  habit  of  selecting  for  his 
pupils  ; Carel  Fabritius,  an  artist  of  great  promise,  who 
was  killed  at  the  age  of  thirty  by  the  explosion  of  a pow- 
der magazine  ; Yermeer,  who  is  described  by  a contempo- 
rary biographer  as  “ the  phoenix  who  rose  from  the  ashes 
of  Fabritius  a second  Fabritius,  a good  painter  of  whom 
little  is  known ; and  the  celebrated  writer  Hoogstraten,  to 
whose  literary  works  we  are  indebted  for  a number  of 
interesting  details  bearing  on  Rembrandt’s  life. 

“ One  day,”  Hoogstraten  writes, “when  I was  persecuting 
Rembrandt  with  too  many  arguments  and  questions,  he 
answered  me,  ‘Learn  to  do  well  what  you  already  know, 
and  you  will  find  in  time  the  unknown  things  that  you  now 
inquire  about.  ’ ” 

From  each  of  these  pupils,  who,  it  is  said,  worked  in 
separate  little  chambers  at  the  top  of  the  house,  Rem- 
brandt received  one  hundred  florins  a year.  He  likewise 
derived  a considerable  profit  from  the  sale  of  the  paintings 
and  etchings  upon  which  they  worked.  These  amounts, 
together  with  the  sums  which  he  received  for  work  en- 
tirely his  own,  must  have  brought  the  painter  in  a con- 
siderable income. 


CHAPTER  Y. 


rembkaudt’s  home. 


1642  to  1646. 


0 the  extreme  east  of  Amsterdam,  in  the  suburb  of  St. 


Antonie,  and  where  the  gate  of  the  same  name  for- 
merly stood,  a large  space  had  been  recently  covered  with 
houses.  In  this  extension  of  the  town,  which  dated  from 
1593,  was  included  the  St.  Antonie  Breedstraat,  where 
Rembrandt  first  lived  after  his  marriage,  and  the  Joden- 
breedstraat,  where  we  now  find  him.  This  street  was  in- 
habited, as  its  name  indicates,  by  the  Jewish  population  of 
the  town.  There,  crowded  together  in  high  narrow  houses, 
with  their  pointed  gables,  stone  steps,  and  raised  entrances, 
lived  this  animated  and  industrious  people,  forming  for 
Rembrandt  an  inexhaustible  field  of  picturesque  life.  The 
house  which  he  had  bought,  the  second  from  the  corner, 
was  built  in  1606,  as  we  learn  from  a stone  cartouche  still 
to  be  seen  on  the  second  storey.  It  was  in  the  Renaissance 
style  of  the  period,  of  bricks  and  freestone,  with  low  arched 
windows,  two  storeys  high,  besides  the  ground  floor  and 


REMBRANDT’S  HOME. 


47 


basement.  A triangular  pediment  crowned  tbe  fa£ade.  We 
are  able  to  entirely  refurnish  this  house  as  it  was  during 
the  painter’s  life-time.  Let  us  mount  the  steps  : we  first 
enter  a hall,  such  as  Pieter  de  Hoogh  loved  to  paint,  and 
which  in  the  houses  of  citizens  of  the  seventeenth  century 
was  well  furnished.  Near  the  window  the  paved  floor  is 
partly  covered  with  narrow  deal  planking,  and  round 
the  walls  stand  six  Spanish  chairs,  four  of  them  with 
black  cushions.  Twenty-four  pictures  hanging  on  the 
walls  showed  the  proprietor’s  taste.  Besides  several 
plaster-casts  there  were  pictures  by  Brouwer,  four  by 
Lievens,  a small  landscape  by  Hercules  Seghers,  and  four- 
teen of  Rembrandt’s  own  paintings,  among  them  several 
landscapes,  and  one  of  those  beautiful  lion  hunts  we  have 
so  often  admired,  and,  lastly,  a ‘ St.  Jerome  ’ — perhaps  one 
of  his  early  pictures  of  1629. 

The  visitor,  who  was  then  admitted  into  a small  ante- 
chamber, found  plenty  to  occupy  his  attention  in  case  he 
were  obliged  to  wait.  It  was  like  a drawing-room  of  the 
present  day ; the  walls  were  hung  with  pictures,  some  of 
them  in  handsome  gilt  frames.  There  were  sixteen  of 
Rembrandt’s  works,  several  landscapes,  various  sketches 
of  houses,  a 1 Descent  from  the  Cross  ’ a large  picture 
in  a gilt  frame,  a ‘ Resurrection  of  Lazarus,’  a 4 Flagel- 
lation,’ and  others.  There  were  works  by  Pinas,  a 
‘ Tobias  ’ by  Lastman,  others  by  Lievens,  small  pictures  by 
Brouwer,  Seghers,  Simon  de  Ylieger,  and  even  by  Lucas 
van  Leyden.  But  what,  above  all,  invited  attention,  were 
several  Italian  paintings,  a Palma  Yecchio,  a picture  by 
the  elder  Bassano,  and  a head  by  Raphael.  The  furniture 
of  this  room  consisted  of  a table  covered  with  a Tournay 
cloth,  six  Spanish  chairs  cushioned  with  green  velvet,  a 


48 


REMBRANDT  VAN  RYN. 


Looking-glass  in  an  ebony  frame,  and  a marble  sideboard. 
The  intimate  friends  of  the  family  would  enter  the  adjoin- 
ing room  behind  the  drawing-room.  Here  we  are  no  longer 
in  the  house  of  a mere  painter,  but  in  a collector’s  museum. 
The  walls  again  covered  with  pictures,  Rembrandts  in 
profusion,  a ‘Virgin  and  Child,’  a ‘Sketch  from  the  Cruci- 
fixion,’ a ‘ Nude  Woman,’  figures  by  Brouwer,  landscapes 
by  Seghers  and  Porcellis,  some  very  scarce  paintings  by 
Aartgens  van  Leyden,  the  ‘ Head  of  an  Old  Man  ’ by  Van 
Eyck,  and  two  copies  after  Annibale  Carracci. 

In  this  room  are  several  utensils  which  tell  us  that  Rem- 
brandt was  accustomed  to  etch  and  print  here.  It  was 
here  that  he  ceaselessly  revised  his  proofs,  in  pursuit  of 
clearer  or  softer  tones,  or  different  effects  of  light  and 
shade  on  his  immortal  plates. 

The  room  behind  this  seems  to  have  been  the  gathering 
spot  of  the  household.  It  contained  a large  looking-glass, 
a table  covered  with  an  embroidered  table-cloth,  blue- 
cushioned  chairs,  a bed  with  blue  curtains,  a linen-press, 
and  cupboard  of  cedar  wood.  But  the  man  who  lived  in 
this  room  was  an  artist,  and  here  again  we  find  him  sur- 
rounded by  objects  of  art.  The  walls  were  covered  with 
pictures  by  Rembrandt,  among  others  the  allegorical 
‘ Peace  of  the  Country,’  a ‘ Resurrection,’  and  an  ‘ Ecce 
Homo  ;’  paintings  by  Seghers,  Lievens,  Eastman,  Aartgens 
van  Leyden;  a ‘Virgin’  by  Raphael,  and  a ‘Woman  of 
Samaria’  by  Giorgione. 

On  the  first  floor  were  the  master’s  studios  and  museum. 
First,  a cabinet  filled  with  small  statues  of  china,  plaster, 
or  marble : Roman  Emperors,  busts  of  Homer,  Ariosto, 
and  Socrates ; globes,  minerals,  plants,  shells,  and  stuffed 
birds  ; porcelain  from  China  and  J apan ; glass  from 


REMBRANDT’S  HOME. 


49 


Venice ; curious  armour,  among  it  a shield  attributed  to 
Quintin  Matsys.  There  were  casts  from  nature,  among 
them  a mask  of  Prince  Maurice  ; several  books,  and  lastly, 
about  sixty  leather  portfolios  filled  with  drawings,  studies, 
engravings  and  etchings  by  Rembrandt,  and  the  principal 
Italian,  German,  and  Dutch  artists.  Then  followed  the 
little  studio  divided  into  five  compartments,  again  filled 
with  curiosities  of  all  kinds,  including  Oriental  instruments 
of  music,  pieces  of  ancient  and  curious  stuffs,  and  plaster- 
casts  from  the  antique ; among  them  the  Laokoon,  at  that 
time  but  little  known.  In  the  large  studio  we  find  also 
a number  of  weapons,  Indian  and  other  costumes,  and  a 
statue  of  a child  after  Michelangelo.  The  next  ante-room 
is  hung  with  lion  skins ; and  lastly,  there  was  the  little 
study  which  contained  six  of  Rembrandt’s  own  paintings. 
Here  we  find  not  only  all  the  implements  of  an  historical 
painter,  but  the  cabinet  of  a passionate  collector  of  curiosi- 
ties, whom  Pelo  has  well  characterized  as  the  man  who 
wandered  about  the  town,  seeking  on  the  bridges,  at  the 
street-corners  and  on  the  market-places,  Japanese  daggers, 
breastplates,  furs,  and  all  he  could  find  that  was  pictu- 
resque. To  gain  objects  for  his  collection  Rembrandt  spared 
no  money,  and  we  hear  of  his  giving  80  ryksdaalders  for  a 
single  engraving  of  Lucas  van  Leyden,  and  at  an  auction  as 
much  as  1,400  florins  for  fourteen  more  of  his  plates. 

Rembrandt’s  collection,  Rembrandt’s  whole  house,  shows 
that  he  was  not,  as  he  has  often  been  represented,  an  ec- 
centric, whimsical  man,  caring  for  nothing  but  his  own 
productions,  but  that  he  was  as  familiar  with  the  Italian  as 
with  the  old  German  masters,  and  appreciated  the  grand 
works  of  antiquity. 

If  we  glance  at  his  private  life  we  find  in  it  perfect  sim- 

E 


REMBRANDT  YAN  RYN. 


50‘ 

plicity,  a sober  and  regular  life,  full  of  work,  a quiet  and 
happy  household,  a devoted  wife.  In  the  evening  the 
family  usually  assembled  in  the  blue-room  at  the  back  of 
the  house.  Here,  in  the  dim  background,  stood  the  large 
bed,  the  cupboard,  and  the  little  chest  of  drawers  in  which 
the  children’s  clothes  were  kept.  The  light  concentrated 
on  the  principal  personages  seated  around  the  table — a 
true  Rembrandt  effect — leaves  in  the  shade  the  rest  of  the 
room.  At  the  large  table  we  can  picture  to  ourselves 
Saskia  nursing  her  infant  child,  or  working,  while  Rem- 
brandt sketches  or  draws  with  his  etching-point,  and  not 
seldom  Saskia  or  the  visitors  of  the  family  were  immor- 
talized on  the  paper  or  copper  of  the  artist  without  their 
knowledge. 

This  life  of  happiness  and  success  culminated  in  1642, 
and  from  this  date  the  advancing  shadows  arise.  Saskia 
of  the  delicate  features  and  thoughtful  air  of  the  Antwerp 
portrait  appears  to  have  been  declining  in  health  in  the 
spring  of  this  year,  and  hastened  to  insure  the  inheritance 
of  her  husband  and  child  in  the  property  that  she  possessed 
in  her  own  right.  On  the  5th  of  June  we  know  that  she 
signed  her  will,  and  on  the  19th  of  the  same  month  Rem- 
brandt accompanied  her  funeral  to  the  Oude  Kerk  in 
Amsterdam,  where  she  was  buried  in  accordance  with  her 
own  wish.  She  had  lived  only  thirty  years  ! 

The  ‘ Sortie  of  the  Banning  Cock  Company  ’ in  his 
works,  and  the  death  of  Saskia  in  his  home,  mark  the 
turning  point  of  the  double  life — artistic  and  domestic 
— of  Rembrandt.  The  succeeding  period  of  1642  to  1654 
is  rich  in  great  works  characterized  by  increased  depth  of 
imagination,  a more  serious  energy  of  purpose,  as  well  as 


SASKIA  VAN  ULENBURGH,  REMBRANDT’S  WIFE 
From  the  painting  by  Rembrandt  at  Casstl . 


Rembrandt’s  home. 


51 


alternations  of  dreaminess,  gloom,  or  even  ferocity  of  dis« 
position. 

In  addition  to  the  new  solitude  of  his  household,  other 
matters  at  this  time  troubled  him.  The  works  of  painters 
in  the  Italian  School  rose  in  public  esteem,  and  a general 
reaction  stopped  the  progress  in  the  popular  favour  of 
Rembrandt’s  style.  He  met  opposition  with  defiance,  and 
took  refuge  from  his  sorrow  in  hard  work.  The  tone  of 
Rembrandt’s  mind  is  always  reflected  in  his  works — in  his 
mysterious  and  gloomy  landscapes,  in  the  almost  infinite 
variety  of  his  portraits  of  himself.  In  this  last  form  of 
autobiography  he  had  been  always  indefatigable,  and  had 
illustrated  with  corresponding  harmonies  of  light  and 
shade,  colour  and  accessories,  every  phase  of  his  experience 
of  life.  We  know  him,  from  these  fanciful  portraits,  in 
all  his  humours,  grave  or  gay,  in  light  and  in  shadow,  in 
his  own  character  or  dressed  from  his  theatrical  wardrobe 
of  rich  stuffs,  jewels,  and  armour.  At  one  time  he  is  jovial 
with  Saskia  on  his  knee,  and  a wine-glass  in  his  hand,  at 
another  he  parades  as  a noble  lord  magnificently  robed,  or 
as  a soldier  with  drawn  sword  or  standard,  or  a hawker 
with  his  bird  on  his  wrist,  and,  although  no  one  of  these 
paintings  can  be  described  as  an  accurate  portrait,  we 
know  his  real  likeness.  Rembrandt  was  a strong  man,  of 
ordinary  figure,  with  a large  head,  not  handsome,  but  re- 
markable when  he  was  excited ; then  it  was  the  head  of 
a lion  in  the  midst  of  his  flowing  mane.  The  nose  is  thick 
and  the  mouth  large  and  unrefined  with  lips  firmly  closed, 
and  framed  in  a stiff  horizontal  moustache  and  beard — a 
mouth  that  is  not  given  to  compliment.  The  piercing 
dark  eyes  are  expressive.  In  them  we  see  the  powerful 
servants  of  the  imagination  that  combines  the  incidents  of 


52 


REMBRANDT  VAN  RYN. 


form,  movement,  colour  and  light  that  they  bring  home  to 
it.  This  is  the  Rembrandt  of  the  etchings  of  1638  and 
1639,  in  the  fulness  of  happiness  and  prosperity.  Life 
opened  to  him  charming  with  all  that  was  fantastic,  strange, 
unlooked-for,  happy — until  the  blow  of  1642  changed  all. 
From  this  time  the  portraits  cease  until  in  1648  a remarkable 
etching  appears.  In  this  the  man  appears  as  he  really  was. 
His  splendid  robes  and  travesties  are  gone  with  the  fierce 
moustache  and  the  flowing  lion’s  mane.  He  descends  to 
the  simplicity  of  an  ordinary  citizen.  The  hair  is  cut,  the 
moustache  trimmed,  the  head  is  covered  by  a large  hat,  and 
his  close  tunic  is  without  ornament.  He  is  seated  at  a win- 
dow and  designing,  but  he  raises  his  head  and  looks  at  you 
full  in  the  face,  and  the  piercing  dark  eyes  are  all  that  re- 
main of  the  portraits  of  the  previous  decade. 

In  1643  he  finished  the  ‘Toilet  of  Bathsheba,’  which 
ranks  with  his  best  works,  and,  in  execution  and  colour,  is 
close  to  the  ‘ Sortie.’  The  nude  figure  of  Bathsheba  stands 
out  in  a dazzling  effect  of  light  from  a background  of  warm, 
confused  shadows.  The  figure  is  not  beautiful  to  a sculp- 
tor’s eye,  nor  in  the  Italian  style,  but  in  animation  in  the 
flesh  colour  and  in  the  modelling  it  is  superb.  The 
harmony  of  the  tints  and  of  the  general  tone  is  very  beauti- 
ful : tints  of  bronze  and  gold  combine  with  shades  of  violet, 
brown,  green,  and  yellow  ochre  into  a warm,  poetic,  and 
mysterious  gamut.  The  execution  exactly  resembles  that 
of  the  ‘ Sortie  ’ on  a smaller  scale,  and  has  the  same  inde- 
scribable charm  of  mystery  and  softness.  “ This  picture,” 
Rembrandt  said,  “ should  be  hung  in  a strong  light,  that  the 
eye  may  penetrate  into  the  shadows.”  The  ‘Diana  and 
Endymion,’  of  the  Lichtenstein  Gallery  at  Vienna,  is  of  this 
period  and  style  ; charming  for  its  colour  and  poetry  of 
light,  but  carelessly  drawn. 


PICTURES  OF  1643. 


53 


‘Philemon  and  Baucis,’  a composition  borrowed  from 
Elzheimer,  and  the  ‘Old  Woman  Weighing  Gold,’  are  also 
of  this  year.  The  subject  of  this  last  picture  was  a woman 
who  kept  a pawnbroker’s  shop,  and  appraised  valuables  and 
foreign  coins,  and  in  the  distribution  of  the  estate  of  Rem- 
brandt’s mother  we  are  told  that  the  jewels  were  valued  by 
such  a person,  of  the  name  of  Neeltjen  Erancken.  This 
picture  has  erroneously  been  described  as  a portrait  of 
Rembrandt’s  mother,  which  it  certainly  is  not. 

Several  remarkable  portraits  bear  the  date,  and  are 
characteristic,  of  this  period.  One  of  the  most  remarkable 
is  the  life-sized  portrait4  of  ‘ Machteld  van  Doom,’  the  wife 
of  Martin  Day,  a soldier  of  English  descent,  in  which  the 
management  of  the  light  and  the  animation  of  the  com- 
position show  an  immense  advance  upon  the  portrait  of 
her  husband,  painted  by  Rembrandt  nine  years  previously. 
The  lady  is  by  no  means  beautiful,  but  the  painter  has  en- 
dowed her  with  the  elegance  of  a princess.  Rembrandt 
appears  to  have  been  employed  on  the  portraits  of  a num- 
ber of  distinguished  persons  at  this  time,  and  the  re- 
finement and  dignity  that  he  impressed  upon  his  work  are 
a sufficient  answer  to  those  who  reproach  his  style  with 
want  of  taste  or  dignity.  But  the  constant  charm  of  his 
paintings  lies  in  their  spontaneity.  Each  springs  from  the 
impulse  of  the  moment  of  its  execution,  and  is  entirely  free 
from  formality  or  mannerism.  Many  otherwise  remarkable 
painters  have  a style  of  their  own,  like  authors.  The  style 
may  be  good,  but  it  is  always  the  same.  Rembrandt,  on 
the  contrary,  painted  more  portraits  than  any  man,  but 
adapted  to  each  individual  the  special  rendering  that  suited 
him.  How  immense  is  the  variety  of  gradations  in  the  long 
gallery  of  his  figures,  from  the  minute  finish  of  his  first 
‘ Old  Men,’  the  close,  calm  painting  of  ‘ Kalkoen,’  or  ‘ Cop- 


54 


REMBRANDT  VAN  RYN . 


penol,’  the  deep,  warm,  mellow  tones  of  1 Le  Doreur ,’  or 
‘ Saskia  at  the  Window,’  through  the  bronzed  and  gilded 
tones  of  1642  and  1643,  the  yellows  of  1650,  to  the  bold  brush 
of  the  ‘Burgomaster  Six,’  the  carmines  of  the  Dresden 
‘ Rabbi,’  the  daring  execution  of  the  ‘ Syndics,’  and  the 
fierce  boldness  of  the  portraits  in  the  Yan  der  Hoop  and 
Brunswick  Museum  ! 

The  year  1643,  engrossed  as  it  was  by  portrait  painting 
produced  very  few  etchings.  ‘ The  Pig  ’ and  the  landscape 
of  ‘ The  Three  Trees  ’ are  gems  of  their  kind,  and  bear 
witness  to  the  master’s  profound  knowledge  of  the  power 
of  the  art  which  he  was  the  first  to  bring  to  perfection,  and 
of  which  he  may  almost  be  said  to  have  been  the  inventor. 

Among  the  paintings  of  the  next  year  we  have  the 
‘ Woman  taken  in  Adultery,’  in  the  style  foreshadowed  by 
the  ‘ Simeon ;’  and,  in  the  same  manner,  a series  of  Bible 
subjects — 4 The  Raising  of  Lazarus,’  4 The  Good  Samaritan,’ 
4 The  Descent  from  the  Gross,’  4 The  Burial,’  and  others. 

Of  the  4 Woman  taken  in  Adultery  ’ — a grave  and 
solemn  scene  among  the  columns  and  arches  of  a vast 
temple — M.  C.  Blanc  writes  : “ Une  lumiere  sourde,  une 
lueur  qui  n’a  pas  de  nom,  eclaire  et  enveloppe  le  tout  dans 
une  harmonie  mjsterieuse.”  The  composition  is  wonder- 
fully grand.  In  the  midst  of  a richly  dressed  crowd  of 
Pharisees  and  soldiers,  and  contrasting  with  tlfem,  a Man 
sits  alone,  simply  robed  and  barefooted.  It  is  to  Him  that 
the  wretched  woman  prostrates  herself.  Behind  are  steps 
and  the  two  pillars — Jacfain  and  Boaz.  The  crowd  is 
passing  up  these  steps  towards  an  altar,  splendid  with  gold, 
in  front  of  which  sits  the  high  priest.  Rembrandt  painted 
this  grand  picture  for  his  friend  and  patron  Jan  Six,  Heer 
van  Yromade,  in  whose  family  it  remained  for  more  than 


THE  THREE  TREES. 


PICTURES  OF  1645. 


55 


a century.  We  have  now  the  happiness  of  seeing  it  in  the 
National  Gallery,  in  London. 

Among  the  portraits  of  this  year  is  one  that  is  called 
4 Justus  Lipsius,’  but  a comparison  of  it  with  etched  por- 
traits of  4 Sylvius  ’ has  resulted  in  the  discovery  that  the 
face  is  that  of  Sylvius.  Rembrandt’s  portraits  are  in- 
teresting when  we  do  not  know  the  persons  represented, 
but  they  possess  an  added  historical  value  when  we  can 
name  their  originals. 

The  pendant  to  this  portrait  is  an  old  lady,  most  proba- 
bly the  wife  of  Sylvius,  seated  in  an  arm-chair,  holding  a 
handkerchief  in  her  hand.  This  head  is  finished  very 
finely,  and  the  very  beautiful  and  true  tints  have  preserved 
their  freshness.  Rembrandt  painted  many  other  portraits 
this  year,  among  them  one  now  in  Lord  Radstock’s  col- 
lection, supposed  to  represent  the  ‘ Connetable  de  Bourbon.’ 
One  etching  only  we  have  to  mention,  the  4 Shepherd  and 
his  Family.’ 

There  are  several  small  compositions  dated  1645.  A 
‘ Holy  Family,’  in  the  Berlin  Museum,  is  a beautifully 
coloured  picture  of  a very  picturesque  effect,  representing 
the  angel  counselling  the  family  to  flee.  Two  subjects  from 
Tobias,  at  the  Berlin  and  Oldenbourg  Galleries,  are  both 
in  the  same  manner.  A delightful  little  cabinet  piece  in 
the  same  genre  is  * The  Holy  Family,’  showing  the  in- 
terior of  a room  ; it  is  now  in  the  Hermitage  : it  represents 
Mary  looking  up  from  a large  book  that  lies  on  her  knee,  to 
draw  aside  the  curtain  from  the  cradle  of  her  Child.  The 
bright  red  of  the  cradle  cover  is  of  the  same  tone  as  that 
affected  by  Maes. 

Two  superb  portraits  of  this  year  are  the  ‘ Old  Rabbi,’  a 
wonderful  effect  of  warm  and  vigorous  colouring,  and 


56 


REMBRANDT  YAN  RYN. 


‘ Nicolaas  Pancras’  offering  a string  of  pearls  to  a young 
woman  who  is  looking  in  a mirror.  This  picture  was  most 
probably  painted  for  Pancras’s  marriage  to  Petronella  de 
Waart,  which  is  made  the  theme  of  a poem  by  Yan  Baerle, 
commencing  by  an  allusion  to  the  burning  of  a new  church 
at  Amsterdam,  which  happened  at  that  time. 

The  etchings  of  this  year  are  again  very  numerous. 
Among  them  the  ‘ Repose  in  Egypt,’  a delightfully  naive 
and  charming  composition  of  great  skill  in  the  drawing ; 
the  well-known  landscapes  ‘The  Bridge  of  Jan  Six,’  a 
sketch  after  nature,  and  the  ‘ View  of  Omval,’  a village 
near  Amsterdam,  and  the  fine  portrait  of  Jan  Cornelis 
Sylvius,  in  an  oval. 

In  the  following  year  Rembrandt  finished  a small  work 
destined  for  the  cabinet  of  Jan  Six,  ‘ Abraham  entertaining 
the  Angels,’  a composition  similar,  but  inferior  to  his 
etching  of  the  same  name.  A strange  picture,  in  which 
the  figure  of  the  patriarch  is  very  noble,  but  in  which  the 
many  coloured  wings  of  the  angels,  viewed  from  behind, 
have  a singular  effect.  Another  charming  little  interior  of 
this  time,  representing  ‘ The  Holy  Family,’  is  at  Cassel. 

At  this  time  Rembrandt  also  painted  two  works  for 
the  Stadtholder,  an  ‘ Adoration  of  the  Shepherds,’  and  a 
* Circumcision,’  for  which  he  was  paid  the  large  sum  of 
2,400  florins,  double  that  which  he  had  received  for  a 
similar  work  in  1639.  In  1645  the  Prince  had  paid  2,100 
florins  only  for  two  large  pictures  by  Rubens. 

A fine  composition  of  the  same  year  is  the  ‘ Danae  ’ of 
the  Hermitage,  another  of  those  paintings  in  which  the 
magic  of  the  brilliant  and  powerful  colouring  leads  us  to 
forget  that  the  figure  is  wanting  in  nobility. 


CHAPTER  VI. 


Rembrandt’s  wore. 


1647  to  1658. 


‘HE  names  of  Jan  Six,  Burgomaster  of  Amsterdam,  and 


X Rembrandt  are  inseparable.  Popular  tradition,  which 
does  not  trouble  itself  much  about  dates,  associates  the  names 
of  the  burgomaster  and  the  artist  at  the  very  outset  of  Rem- 
brandt’s career.  But  as  Six  was  born  in  16]  8,  he  was  only 
twelve  years  old  when  Rembrandt  first  came  to  Amsterdam, 
scarcely  of  an  age  to  be  either  a Maecenas  or  a burgomaster. 
He  was  the  son  of  Jan  Six,  the  descendant  of  a noble  emi- 
grant Huguenot  family,  and  a lady  named  Anna  Wymer. 
Early  devoted  to  study  and  literature,  he  entered  the  magis- 
tracy late  in  life,  and  was  not  burgomaster  until  1641  ; in 
which  year  Rembrandt  painted  a portrait  of  his  mother.  In 
1655  he  married  Margaret,  the  daughter  of  the  celebrated 
surgeon  Nicolaas  Tulp.  Jan  Six  early  acquired  a reputa- 
tion as  a man  of  learning  and  a poet ; he  wrote  good  verses, 
and  in  1648  a tragedy,  1 Medea.’  As  a patron  and  connois- 
seur of  painting  and  poetry  he  was  on  friendly  terms  with 
many  artists  and  men  of  literary  note.  Rembrandt  and 


58 


REMBRANDT  VAN  RYN. 


Jan  Six  had  one  very  decided  taste  in  common,  which  mnst 
have  drawn  them  mnch  together.  Six  was  not  only  a 
learned  and  enthusiastic  lover  of  books,  but  also  a wealthy 
collector  of  objects  of  art  and  curiosities,  and  as  a fellow- 
labourer  he  must  have  welcomed  in  Rembrandt  one  of  the 
most  earnest  collectors  in  the  country. 

In  1645  Rembrandt  etched,  as  we  have  seen,  ‘ Six’s 
Bridge,’  a view  near  his  friend’s  country  house  at  Elsbroek, 
and  in  1647  the  beautiful  ‘ Portrait  of  Jan  Six,’  one  of  his 
very  best  works.  It  is  a characteristic  likeness  of  the 
burgomaster,  standing  by  an  open  window  in  his  library. 
He  is  resting  one  elbow  on  a cushion  on  the  window-sill 
and  is  reading  from  a book  which  he  has  folded  in  his 
hand  ; and  is  surrounded  by  objects  of  his  museum — old 
pictures,  books,  a sword  of  curious  workmanship,  and  other 
treasures.  When,  in  the  following  year,  Six  was  preparing 
his  tragedy  ‘ Medea  ’ for  the  press,  it  was  Rembrandt  who 
supplied  him  with  a frontispiece  representing  ‘Jason  and 
Creusa  kneeling  in  the  Temple  of  Juno.’  There  are  several 
memorials  of  Rembrandt’s  frequent  visits  to  his  friend’s 
house,  in  the  shape  of  little  pen  and  ink  drawings  anil  en- 
gravings which  he  made  of  the  surrounding  country,  in- 
cluding two  small  sketches  in  an  album  called  ‘Pandora,’ 
which  the  friends  of  Six  used  to  adorn  with  verses  or 
drawings. 

Yondel  has  celebrated  in  verse  one  of  Six’s  portraits  by 
Rembrandt,  which  gives  him  dressed  in  grey,  with  a 
red  cloak  embroidered  in  gold  over  his  shoulder,  the  three 
colours  of  grey,  gold,  and  red  forming  a wonderful  har- 
mony. Although  this  picture  is  painted  with  such  a bold 
touch  as  to  show  perfect  daubs  of  colour  when  inspected 
closely,  the  effect  from  a distance  is  wonderful,  the  form 


THE  BURGOMASTER  JAN  SIX. 
From  the  etching  by  Rembrandt. 


Rembrandt’s  work,  1647. 


59 


is  perfect,  and  the  tone  rich,  deep,  and  powerful.  The 
date  of  this  portrait  (1656)  is  interesting,  because  it  shows 
that  the  relations  between  Six  and  Rembrandt  outlived 
the  scandal  and  the  catastrophes  of  those  days. 

The  love  of  art  and  the  memory  of  Rembrandt  van  Ryn 
are  perpetuated  in  this  family,  and  the  celebrated  Six 
Gallery  at  Amsterdam  owes  much  of  its  fame  to  its 
Rembrandts.  It  contains,  among  others,  a portrait  by 
Rembrandt,  known  as  the  4 Little  Doctor  ’ (‘het  Doctoortje''), 
representing  a Portuguese  Jew  (Ephraim  Bonus),  who 
settled  in  Amsterdam,  and  afterwards  purchased  the  right 
of  citizenship.  This  life-like  picture  is  of  a very  warm 
colouring  and  broad  touch.  Rembrandt  treated  the  same 
subject  in  a splendid  etching  ( le  Juif  a la  ra?npe ),  where 
the  attitude  of  the  doctor,  who  is  descending  the  stairs, 
with  his  hand  on  the  balusters,  is  the  same.  This  etching, 
together  with  the  portrait  of  4 Jan  Six,’  is  the  type  of  a new 
style  in  which  Rembrandt  began  to  treat  his  subjects ; the 
lines  are  fine,  the  shadows  soft  and  full,  the  tone  vigorous 
and  harmonious.  That  of  ‘Jan  Asselyn,’  a painter  who 
studied  in  Rome,  where  he  attached  himself  to  Claude  and 
Pieter  de  Laer,  is  treated  in  the  same  manner.  Although 
this  artist  rather  affected  the  Italian  style,  he  was  appre- 
ciated by  Rembrandt,  who  has  represented  him  with  a 
pointed  hat,  and  with  rather  a foreign  air  about  him.  Of 
the  same  year  is  Rembrandt’s  portrait  of  the  doctor  4 Jo- 
hannes Antonides  van  der  Linden,’  professor  of  the  college 
of  medicine  at  Franeker,  where  he  greatly  enlarged  the 
botanical  gardens.  Rembrandt,  who  loved  to  represent  his 
portrait  subjects  in  the  midst  of  their  usual  occupations, 
has  given  us  the  learned  doctor  walking  in  a garden,  with 
a book  in  his  hand. 


60 


REMBRANDT  VAN  RYN. 


Of  the  year  1648  the  Louvre  possesses  two  pictures  by 
Rembrandt,  the  4 Good  Samaritan,’  and  the  ‘ Pilgrims  of 
Emmaus.’  The  4 Good  Samaritan,’  an  evening  effect,  is 
painted  in  a sombre  brown  and  red  tone,  much  affected  by 
Maes,  at  that  time  Rembrandt’s  pupil.  In  composition  this 
picture  is  neither  so  happy  as  the  etching  of  like  name  of 
1633,  nor  the  original  drawing,  now  in  the  Boymans  Mu- 
seum. The  4 Pilgrims  of  Emmaus  ’ is  a very  beautiful 
work,  in  which  again  red  is  predominant,  but  vaporous  and 
soft ; the  whole  picture  is  enveloped  in  a warm  light  that 
throws  a great  charm  over  the  scene. 

In  1648  the  Peace  of  Westphalia  brought  the  struggle 
between  the  United  Provinces  and  Spain  to  a close.  This 
event  was  celebrated  at  Amsterdam  by  splendid  feasts,  fire- 
works, allegorical  pictures,  and  verses  composed  by  Coster, 
Brandt,  and  Jan  Yos  ; Yondel  wrote  his  ‘Leeuwendalers  ;* 
Flick  painted  his  large  picture,  ‘ The  Company  of  Huyde- 
coper  ;’  Terburgh,  4 The  Congress  of  Munster,’  lately  pre- 
sented by  Sir  Richard  Wallace  to  the  National  Gallery; 
Van  der  Heist  his  famous  4 Banquet  of  the  Civic  Guard 
Lutma  engraved  his  medals ; artists  and  poets  alike  took 
part  in  celebrating  44  the  year  of  the  peace  but  there  is 
no  proof  that  Rembrandt’s  genius  was  remembered  or 
called  into  requisition.  But  he  produced  one  work 
this  year,  which  evidently  bears  upon  this  event.  It  is  a 
sketch  representing  the  enclosure  of  a fortress,  the  walls  of 
which  are  visible  in  the  right-hand  background,  where 
cannons  are  blazing  and  a group  of  soldiers  fighting ; the 
right-hand  foreground  is  entirely  occupied  by  a group  of 
horsemen,  of  remarkable  vigour  and  truth ; on  the  left  are 
two  thrones,  on  one  of  which  leans  a figure  of  Justice, 
clasping  her  hands  as  if  in  supplication.  The  centre,  which 


REMBRANDT’S  WORK,  1648-50. 


61 


is  in  the  light,  is  occupied  by  a couchant  lion  growling,  his 
one  paw  on  a bundle  of  arrows,  the  symbol  of  the  United 
Provinces.  The  lion  is  bound  by  two  chains,  the  one  at- 
tached to  the  thrones,  the  other  fastened  to  an  elevation, 
bearing  on  a shield  the  arms  of  Amsterdam,  surrounded 
by  the  words,  “ Soli  Deo  Gloria.”  Rembrandt  must  cer- 
tainly have  thought  of  a larger  work  when  he  designed 
this  sketch,  some  parts  of  which  resemble  a finished  paint- 
ing. But  the  sketch  remained  with  the  master  until  all 
his  works  were  scattered  in  1656  ; it  is  now  in  the  Boy- 
mans  Museum  at  Rotterdam. 

Of  this  same  epoch,  between  1648-50,  though  the  exact 
date  is  unknown,  is  the  study  en  grisaille  in  the  National 
Gallery,  the  4 Descent  from  the  Cross,’  and  the  4 Un- 
merciful Servant’  of  the  Wallace  collection:  the  latter  a 
remarkable  composition,  of  a dark  colour  and  reflected 
lights  ; the  painting  is  ample  and  the  style  grand. 

A portrait  of  1649,  unique  among  the  works  of  Rem- 
brandt, is  the  life-sized  portrait  of  4 Turenne  on  Horseback,’ 
now  in  Lord  Cowper’s  collection  ; a picture  which  has 
much  resemblance  to  one  of  the  same  hero  by  Velazquez. 
4 Vertumnus  and  Pomona,’  now  at  Prague,  is  also  dated 
1649.  The  following  year  Rembrandt  painted  a large 
canvas,  4 Samuel  Taught  by  his  Mother,’  and  a small  panel, 
4 The  Prophetess  Anna  ’ listening  to  a child’s  prayer,  a 
very  beautiful  and  simple  composition. 

Among  the  works  of  1651  is  the  4 Head  of  a Rabbi,’  in 
the  National  Gallery,  a golden  effect,  and  4 Christ  Appear- 
ing to  Mary,’  of  the  Brunswick  Gallery.  Rembrandt  has 
treated  this  scene  with  a poetry  admirably  rendered  with 
all  the  mystery  and  charm  of  his  chiaro-scuro.  There  is, 
perhaps,  no  painter  who  has  better  embodied  the  simple 


02 


REMBRANDT  VAN  RYN. 


narrative  of  the  Evangelist ; the  female  figure  is  especially 
well  painted. 

The  etchings  of  this  year  include  two  pathetic  designs 
of  * Blind  Tobit  Feeling  for  the  Door,’  and  a beautiful 
portrait  of  ‘Clement  de  Jonghe,’  an  artist  and  print  pub- 
lisher, whose  name  is  associated  with  the  best  productions 
of  the  Dutch  graver : and  a large  landscape  called  ‘ The 
Gold-weigher’s  Field,’  with  a distant  view  of  the  country 
house  of  Uytenbogaerd,  one  of  Rembrandt’s  friends,  who 
lived  some  four  miles  out  of  Amsterdam,  where  Rembrandt 
must  have  been  a frequent  visitor,  to  judge  from  the 
number  of  sketches  he  took  from  the  neighbourhood.  It 
is  at  this  period  of  his  career  that  landscape,  both  in  paint- 
ing and  etching,  begins  to  take  a more  and  more  consider- 
able place  in  Rembrandt’s  works. 

The  ‘ Hundred  Guilder  Print,’  which  he  published  at  this 
time,  holds  the  same  rank  among  the  artist’s  etchings  as 
the  ‘ Lesson  on  Anatomy’  and  the  ‘ Sortie  ’ among  his  paint- 
ings ; though  not  dated,  it  is  not  difficult  to  assign  to  the 
print  its  proper  place  in  the  period  from  1648-50,  where  it 
forms  the  centre  of  a brilliant  group  of  similar  productions. 

The  subject  of  this  etching  is  taken  from  the  words 
“And  Jesus  went  about  all  Galilee,  preaching  the  gospel 
of  the  kingdom,  and  healing  all  manner  of  sickness,  and 
all  manner  of  disease  among  the  people.”  The  serene  and 
calm  figure  of  Jesus  stands  out  from  the  shadow  of  the 
background,  preaching  to  the  people  around  Him.  By  a 
superb  antithesis,  the  Pharisees  and  Sadducees,  the  priests 
and  the  curious  and  unbelieving  are  standing  on  Christ’s 
right  hand  bathed  in  light,  while  from  the  shadows  that 
envelop  the  left  side  of  the  picture  are  coming  the  sick,  the 
possessed,  and  unfortunates  of  all  kinds.  The  composition 


EPHRAIM  BONUS. 


From  the  etching  by  Rembrandt. 


REMBRANDT’S  WORK,  1651. 


63 


is  full  of  feeling,  drawn  and  executed  with  a rare  genius, 
the  details  revealing  a world  of  expression  and  character ; 
the  lights  and  shadows,  disposed  in  large  masses,  are  of 
wonderful  softness.  The  etching,  commenced  with  aqua- 
fortis, is  finished  with  the  dry  point,  the  silvery  nentral 
tints  of  Christ’s  robe  and  the  soft  shadows  being  produced 
in  this  manner. 

On  account  of  the  great  fineness  of  the  etching,  good 
proofs  of  this  plate  are  extremely  rare,  and  were  already, 
in  Rembrandt’s  lifetime,  sold  at  very  high  prices.  In  1660, 
the  artist  and  collector  Petersen  Zomer  writes  on  the  back 
of  a beantifnl  copy  of  a proof,  “ Given  me  by  my  intimate 
friend  Rembrandt,  in  exchange  for  the  ‘ Pest  ’ of  M.  An- 
thony ” — meaning  the  celebrated  ‘ Pest  ’ engraved  by  Marc 
Antonio  after  Raphael.  Gersaint,  visiting  Holland  during 
the  first  half  of  the  seventeenth  century,  learned  by  tra- 
dition that  the  name  of  4 The  Hundred  Guilder  Print  ’ arose 
from  the  fact  that  a Roman  merchant  had  given  Rembrandt 
for  one  engraving,  seven  Marc  Antonios  which  he  valued 
at  that  price.  Only  eight  impressions  of  this  plate  in  its 
first  state  are  now  known  : two  of  them  are  in  the  British 
Museum,  a third  is  in  Paris,  a fourth  at  Amsterdam,  the 
fifth  at  Vienna,  the  sixth  is  in  the  possession  of  the  Duke 
of  Buccleuch,  the  seventh  in  Mr.  Holford’s,  and  the  eighth, 
Zomer’s  proof,  which  was  sold  for  £1,180  in  1867,  now 
belongs  to  M.  Eugene  Dutuit,  of  Rouen. 

Between  the  years  1650  and  1652  we  have  scarcely 
any  record  of  Rembrandt’s  paintings.  Whether  the  great 
master  was  ill  or  travelling,  it  is  certain  that,  excepting  a 
few  unimportant  works — such  as  the  ‘Prophetess  St.  Anna,’ 
painted  in  1652 — we  have  no  further  traces  of  his  work. 


64 


REMBRANDT  VAN  RYN. 


About  1653,  the  painter  appears  to  have  been  very  busy 
with  portraits  of  his  friends,  Coppenol,  Yan  Tromp,  and 
others  ; and  in  the  record  of  the  following  year  we  find  the 
‘ Bathsheba  ’ of  the  Louvre,  the  4 Potiphar’s  Wife  ’ of  the  Her- 
mitage, and  the  4 Woman  Bathing  ’ of  the  National  Gallery. 

Between  1650  and  1654  we  have  few  etchings.  They 
include  a 4 Landscape  with  a ruined  tower  ’ and  4 The 
Sportsman,’  in  which  a beautiful  effect  is  produced  by 
dry-point— -a  method  Rembrandt  much  used  in  his  later 
years ; and  a few  biblical  subjects  — 4 Christ  with  the 
Doctors,’  4 A Plight  into  Egypt,’  and  4 Our  Lord  and  His 
Disciples  at  Emmaus.’ 

In  the  year  1656  Rembrandt  painted  a large  picture, 
the  4 Lesson  on  Anatomy  of  Joan  Deyman,’  containing  the 
portraits  of  nine  celebrated  doctors  for  the  Surgeons’  Guild, 
all  trace  of  which  has  unfortunately  been  lost,*  excepting  a 
copy  by  Dilhoff.  It  is  a fact  worthy  of  remark,  that  all 
through  his  life,  Rembrandt  was  on  friendly  terms  with 
the  most  celebrated  doctors  of  Amsterdam. 

Of  the  same  year  are  the  two  chief  paintings  of  this 
epoch,  4 Jacob  Blessing  Ephraim  and  Manasseh,’  and  4 St. 
John  Preaching.’  There  are  many  of  Rembrandt’s  works 
which  bear  the  stamp  of  his  time,  but  there  are  others, 
and  among  them  the  4 Jacob,’  which  belong  as  much  to 
all  times  and  all  nations  as  the  masterpieces  of  Greek 
sculpture.  This  touching  scene,  which  is  simply  ren- 
dered with  all  the  power  of  Rembrandt’s  art,  represents 
the  aged  patriarch  extending  his  hands,  which  Joseph  is 
guiding,  towards  the  boys,  who  are  kneeling  before  him. 

* At  the  Leeds  Exhibition  of  1868,  a painting,  attributed  to  Rem- 
brandt, under  the  title  of 4 Dr.  Deeman  demonstrating  from  the  Dead 
Subject,’  was  exhibited  by  Mr.  H.  D.  Owen. 


Rembrandt’s  work,  1656. 


65 


Behind  the  bed  stands  their  mother,  Asenath,  with  clasped 
hands.  The  light  falling  from  behind  Jacob  on  the  left, 
leaves  his  face  in  the  shade.  His  head  is  covered  by  a 
yellowish  cap,  bordered  with  clear -coloured  fur;  the 
sleeve  of  the  right  arm  is  of  a beautiful  grey ; the  hand 
painted  with  large,  broad  touches.  The  bed  is  covered 
with  a sheet  and  a counterpane  of  pale  red  and  fawn- 
colour.  Joseph  wears  a turban  and  his  wife  a high  cap, 
long  veil,  and  robe  of  grey  and  fawn-coloured  brown. 
The  fair  child  has  a yellow  vest ; and  his  head,  bright  with 
reflected  lights,  is  very  fine  in  tone  and  of  extreme  delicacy. 

We  see  the  colours  here  employed  are  grey  and  fawn- 
coloured  brown,  which  in  the  highest  notes  only  reach 
subdued  red  or  yellow.  The  whole  bears  a mysterious 
air;  in  a fine  and  luminous  light,  filled  with  tones  and 
half-tones  that  are  indefinable.  The  touch  is  of  such 
surpassing  boldness  and  ease  that  when  viewed  in  detail 
the  picture  might  be  called  a sketch,  if  the  harmony  and 
completeness  of  the  whole  did  not  indicate  the  maturity 
and  profundity  of  the  work. 

‘ St.  John  the  Baptist  Preaching,’  the  second  large 
work  of  this  epoch,  is  a canvas  containing  over  a hundred 
small  figures.  St.  John,  without  halo,  cross,  or  camel’s 
hair,  stands  preaching  in  the  centre  of  a motley  crowd  of 
all  types,  characters,  physiognomies,  and  costumes,  amid  a 
beautiful  landscape,  while  a sunbeam  touching  the  moun- 
tain tops  in  the  background,  and  the  bridge  and  cascade, 
illuminates  the  preacher  and  those  immediately  surround- 
ing him.  We  find  in  this  picture  again  the  delicate  greys, 
yellows,  browns,  and  reds  of  the  ‘Jacob,’  which  caused  this 
work  to  be  known  among  old  authors  as  a grey  picture  or 
camaieu. 


F 


66 


REMBRANDT  VAN  RYN. 


The  other  more  important  works  belonging  to  this  epoch 
and  style  are  ‘ The  Master  of  the  Vineyard  ’ — now  at  Frank- 
fort— one  of  the  most  serious  and  beautiful  of  the  master’s 
paintings  ; the  simple  and  tranquil  effect  of  this  work  has 
not  received  the  admiration  it  deserves. 

Among  the  etchings  of  this  period,  ‘Jesus  being  pre- 
sented to  the  People,’  which  subject  he  also  painted,  and 
the  ‘ Three  Crosses,’  both  of  1655,  are  especially  worthy  of 
notice.  The  former  of  these  compositions  bears  great  re- 
semblance to  a print  of  Lucas  van  Leyden  in  several  details, 
as  well  as  in  general  arrangement.  In  the  second,  the  light 
falls  full  on  the  three  crosses,  which  are  surrounded  by 
horsemen  and  soldiers,  friends  and  relations  of  Jesus,  while 
to  the  left  stand  groups  of  Jews,  terrified  by  the  miraculous 
darkness.  Clouds  are  massed  behind  the  central  cross. 
The  impression  of  the  whole  is  strange  and  weird,  and  in 
the  highest  degree  sublime.  Rembrandt  also  supplied  four 
little  prints  for  a very  curious  book,  by  his  friend  Menasseh, 
called  ‘Piedra  Glorioso,’  containing  an  exposition  of  the 
author’s  views  on  Daniel’s  vision  and  Nebuchadnezzar’s 
dream.  Of  the  same  period  is  ‘ Christ  Preaching,’  known 
as  the  ‘ Little  La  Tombe.’ 

We  have  at  this  time  also  two  plates  from  the  history 
of  Abraham,  and  a vigorous  etching  of  ‘ St.  Francis  Pray- 
ing,’ and  ‘ The  Samaritan  Woman  at  the  Well,’  of  1658,  in 
which  the  landscape  is  in  the  Italian  style.  Four  studies 
of  women  of  the  same  year  are  very  excellent. 

The  style  of  the  portraits  of  ‘ Six,’  ‘ Asselyn,’and  ‘Ephraim 
Bonus  ’ continues  in  various  etchings,  among  which  that  of 
‘ Haring,’  the  father  of  the  auctioneer  who  sold  Rembrandt’s 
collection,  is  the  best  of  all  the  artist’s  etched  portraits. 
Of  the  same  manner  are  the  portraits  of  ‘ Abraham  Fran- 


CHRIST  PRESENTED  TO  THE  PEOPLE. 


rembrandt’s  work,  1658. 


67 


cen,’  one  of  Rembrandt’s  personal  friends,  who  gave  security 
for  him  during  his  discomfiture,  and  again  for  Titus  in 
1665,  when,  at  the  request  of  Titus,  he  adds  after  his  name, 
that  he  knew  him  very  well ; and  that  of  ‘Jan  Lutma,’  a 
travelled  and  well-known  sculptor  and  goldsmith  of  Gron- 
ingen, who  made  several  commemorative  medals  for  the 
town  at  the  time  of  the  Peace  of  Westphalia,  and  whom 
Rembrandt  has  represented  holding  a small  metal  figure 
in  his  hand ; ‘ Dr.  Arnoldus  Tholinx,  of  the  College  of 
Medicine  at  Amsterdam  and  the  ‘Younger  Haring,’  the 
auctioneer. 


CHAPTER  VII. 

Rembrandt’s  last  tears. 

1658  to  1669. 

THE  world  had  been  hard  for  Rembrandt,  and  life 
gloomy  since  Saskia’s  death.  The  incessant  work 
with  which  he  had  occupied  his  twelve  years  of  widowhood 
is  sufficiently  shown  in  the  marvellous  catalogue  of  his 
paintings  and  etchings  that  we  have  reviewed.  His  only 
amusement  at  home  was  the  collection  of  art- treasures,  with 
which  he  persevered  enthusiastically.  In  his  sketching 
tours  to  the  provinces,  he  visited  Burgomaster  Six  and  other 
friends,  and  he  had  a few  intimate  friendships  among  the 
citizens  of  Amsterdam.  But,  as  if  Saskia's  death,  or  ‘The 
Sortie’  had  marked  a turning-point  in  his  life,  Rembrandt 
had  been  steadily  descending  since  their  date.  His  fortune 
was  described  in  1638  as  “superabundant,”  but  in  1658  he 
began  contracting  debt  after  debt  until,  in  1656,  he  became 
formally  a bankrupt. 

Towards  the  end  of  1657  all  his  worldly  goods  were 
seized  and  carried  away  to  a little  Inn  called  the  Keizer skroon, 


REMBRANDT’S  MISFORTUNES. 


69 


in  the  Kalverstraat,  where,  we  are  told,  “the  great  col- 
lection of  prints  and  paintings  by  Italian,  French,  German, 
Dutch,  and  Spanish  masters,  and  a quantity  of  designs  by 
Rembrandt,  the  whole  collected  with  great  care  by  Rem- 
brandt van  Rhyn,”  was  brought  to  the  hammer  in  the  Sep- 
tember of  1658,  and  sold  for  five  hundred  florins.  The 
inventory  of  the  auctioneer,  Thomas  Jacobsz  Haring,  in- 
cluded the  few  articles  of  wearing  apparel  which  at  that 
time  were  at  the  washerwoman’s  ! 

In  the  February  of  1658  his  house  in  the  Jodenbreed- 
straat  had  been  sold  for  11,218  florins,  and  all  the  poor 
master  was  permitted  to  retain  were  two  little  stoves  ! 
With  his  young  son  Titus,  then  fifteen  years  of  age,  he 
took  refuge  at  the  Keizerskroon , where  they  must  have 
lived  for  several  months.  Out  of  the  money  received  from 
the  sale,  the  guardians  of  Titus  were  paid  the  6,592  florins 
that  remained  due  to  them  on  Saskia’s  estate.  Rembrandt’s 
creditors  were  paid  from  the  balance,  and  the  great  painter, 
deprived  of  everything,  was  left  to  begin  the  world  again  at 
the  age  of  fifty.  Soon  after  the  sale  he  must  have  gone  to 
live  in  a new  house  on  the  Rozengracht. 

The  manner  in  which  his  fortune  dwindled  away  is  not 
difficult  to  discover.  Rembrandt  was  generous  and  careless 
with  his  money.  His  earnings  from  his  pupils  and  the  sale 
of  his  works  were  large,  and  his  wife  brought  him  a marriage 
portion  of  40,000  florins,  which  he  considered  inexhaustible. 
His  passion  for  the  collection  of  art- treasures  was  probably 
the  first  cause  of  his  difficulties.  Then  his  family  fell  into 
pecuniary  troubles  and  were  a standing  tax  upon  the  pros- 
perous brother’s  generosity.  His  brother  Adriaen  sold 
half  the  mill  in  1651,  then  died,  and  his  widow  mortgaged 
the  remaining  share.  In  1652  another  brother  is  men- 


70 


REMBRANDT  YAN  RYN. 


tioned  in  the  lists  of  notoriously  poor  people  who  were  fit 
objects  for  charitable  distribution,  and  his  sister  Lysbeth 
is  spoken  of  as  “ half  slecht ,”  or  “half  insolvent.” 

The  years  1653  to  1655  were  years  of  much  general 
depression  in  Amsterdam,  and  the  sale  of  Rembrandt’s 
works  must  have  been  seriously  affected  by  the  condition 
of  the  city.  Hundreds  of  houses  were  unoccupied,  rents 
were  lowered,  and  sumptuary  laws  were  passed  for  the 
repression  of  luxury.  In  addition  to  this  ruinous  combi- 
nation of  circumstances  Rembrandt  was  involved  in  law- 
suits in  the  matter  of  the  guardianship  of  his  son  and  the 
distribution  of  Saskia’s  estate.  In  1 647  he  had  been  ordered 
by  the  Court  to  make  a schedule  of  his  property,  and  this 
was  valued  at  40,750  florins.  Half  of  this  was  claimed  for 
the  share  of  Titus,  besides  a legal  mortgage  upon  half  of 
Rembrandt’s  own  private  estate.  This  claim  was  obviously 
unjust,  as  it  was  settled  at  last  for  6,592  florins.  Rem- 
brandt was  therefore  struggling  during  all  these  years,  not 
only  with  his  own  troubles  and  those  of  his  family,  but 
with  the  difficulties  created  for  him  by  the  guardians  of 
his  son ; and  it  is  in  the  midst  of  all  these  anxieties  that  he 
produced  the  wonderful  collection  of  works  that  mark  the 
epoch  from  Saskia’s  death  to  the  time  of  his  bankruptcy. 

It  is  supposed  that  in  1653  he  married  again  ; for  in  an 
official  register  of  July  23,  1654,  we  find  an  entry  of  the 
baptism  of  “ Cornelia,  the  child  of  Rembrandt  van  Reijn 
and  Hendricktie  Stoffels.”  Saskia  had  previously  given  him 
two  children  of  the  name  of  Cornelia,  but  both  had  died. 
It  is  quite  possible  that  this  re-marriage  may  have  com- 
pelled the  trustees  of  his  late  wife  to  insist  on  the  per- 
formance of  his  contract  with  regard  to  their  son  Titus. 

At  this  same  time  there  was  some  scandal  about  him 


REMBRANDT’S  WORK,  1659. 


71 


and  his  servant,  Hendrickie  Jagers,  but  whether  the  two 
Hendrickies  were  one  and  the  same  or  not,  it  is  difficult 
to  say. 

His  friends  and  the  patrons  of  art  must  not  be  rashly 
accused  of  indifference  to  his  misfortunes.  Those  of  them, 
such  as  Menasseh -ben- Israel,  Lutma,  and  Burgomaster 
Six,  who  were  able  and  willing  to  come  to  his  assistance, 
discovered  that  the  most  effectual  form  of  help  that  they 
could  bring  him  was  an  attitude  of  readiness  to  help  him 
when  the  inevitable  crisis  came ; and  it  was  then  that  by 
their  aid  he  was  enabled  to  continue  that  manful  struggle 
with  Fortune,  and  his  life  of  labour  so  incessant,  prolific, 
and  admirable,  that  the  mere  enumeration  of  his  many 
pictures,  each  one  of  which  is  a glory  to  the  art  of  Holland, 
is  tedious  to  read. 

In  the  year  1659,  we  have  4 Moses  descending  Sinai,’  in 
which  the  prophet  is  breaking  the  law-tables  he  holds  above 
his  head — a painting  of  sombre  and  mysterious  colouring, 
not  showing  any  of  the  light  which  usually  distinguishes 
Bembrandt’s  pictures — and  ‘Jacob  wrestling  with  the 
Angel.’  Both  these  works  are  in  the  Berlin  Museum. 

During  this  period  he  likewise  produced  numerous  por- 
traits ; in  colouring  and  style  all  similar  to  the  4 Jan  Six.’ 
That  of  4 Secretary  Bruyningh,’  now  in  the  Cassel  Gallery, 
is  one  of  the  best  of  this  period  ; the  smile  on  the  young 
man’s  lips  is  very  pleasing  : the  picture  is  remarkable  for 
the  little  light  that  is  allowed  to  play  in  vague  and  myste- 
rious reflections  and  demi-tints  over  the  picture.  The  por- 
trait of  the  ‘Young  Man  Meditating,’  of  the  Belvedere 
Gallery,  is  painted  in  the  same  sentiment ; as  well  as  the 
4 Portrait  of  a Man,’  of  1658,  now  in  the  Wilson  Collection, 
which  is  probably  that  of  4 Thomas  Jacobzoon  Haring,’  the 


REMBRANDT  VAN  RYN. 


72 

auctioneer  of  the  Insolvency  Court.  There  are  several  very 
interesting  portraits  of  Rembrandt  himself  of  this  time. 
One  at  Dresden,  dated  1657,  represents  him  drawing — he 
holds  the  ink  in  one  hand,  the  pen  in  the  other.  Quietly 
dressed  in  a close  coat  of  black  velvet  ornamented  with 
gold  buttons,  a black  cap  on  his  head,  he  regards  the  spec- 
tator with  a face  full  of  animation  ; his  face  and  hands  are 
illuminated,  the  rest  of  the  figure  is  in  the  shade.  Another 
portrait  of  the  artist  (of  1657),  now  in  the  Belvedere  Gallery, 
represents  him  standing  with  his  hands  in  his  girdle ; and 
another,  of  the  following  year,  shows  him  with  a velvet 
cap  covering  his  white  locks  ; the  expression  of  the  face, 
especially  of  the  dark  eyes,  is  full  of  vigour.  Two  other 
portraits  show  him  as  a simple  painter,  a white  cap  on  his 
head,  his  palette  and  brushes  in  his  hand. 

A large  painting  appears  again  in  1661  as  the  starting- 
point  of  another  period ; this  is  the  portrait  of  the  4 Syndics 
of  the  Cloth  Hall ; ’ and  represents  five  men  seated  round 
a table  with  their  servant  waiting  on  them.  The  subject 
is  not  interesting,  but  it  is  the  execution  and  colouring 
which  make  this  picture  a chef-d’oeuvre.  Looking  back 
we  find  a great  difference  between  this  work  and  the 
4 Lesson  on  Anatomy.’  There  we  had  a power  that  knew 
its  strength,  but  still  contained  itself ; here  we  have  a 
vigour  which,  proved  for  thirty  years,  has  surmounted  all 
difficulties,  disengaged  its  originality  from  all  precedent, 
and,  sure  of  itself,  proceeds  with  a boldness  that  is  aston- 
ishing. With  all  his  knowledge,  practice,  and  power,  the 
painter’s  energy  never  relaxes  ; the  more  difficulties  he 
vanquishes  the  more  he  demands,  and  with  all  the  boldness 
of  his  brush  seeks  tones  and  forms  still  more  profound. 


REMBRANDT’S  WORK,  1663. 


73 


The  tone  of  the  ‘ Syndics  ’ is  harmonious  and  vigorous  ; 
there  is  no  play  of  light,  as  in  the  £ Sortie,’  but  a very  natu- 
ral brightness  illuminates  equally  the  whole  picture,  which 
is  of  a colouring  and  touch  differing  entirely  from  the 
4 Jacob,’  4 Six,’  or  4 St.  John.’  A 4 Circumcision,’  an  4 Ecce 
Homo,’  and  others  of  the  same  year  are  all  executed  in  this 
same  manner.  A striking  picture  of  this  time  is  ‘Ziska 
and  his  adherents  swearing  to  avenge  the  death  of  Huss.’ 
The  light  is  extremely  mysterious,  the  dominant  colours 
yellow,  fawn-colour,  and  greenish,  the  general  effect  grand. 
To  this  year  belong  the  two  last  etchings  which  the  artist 
made — one  is  the  celebrated  portrait  of  his  friend,  4 Lievens 
Coppenol the  other  a 4 Woman  with  an  Arrow.’ 

There  are  two  magnificent  paintings  belonging  to  1663 
which  are  wonderful  in  bold  colouring  and  harmonies  of 
brown,  yellow,  and  red.  One  of  these,  4 Portraits  of  a Man 
and  his  Wife,’  known  as  the  4 Jewish  Bride,’  is  in  the  Yan 
Hoop  Gallery ; the  other,  called  4 Rembrandt  and  his 
Family,’  in  the  Brunswick  Museum.  There  is,  in  the  first, 
nothing  to  justify  the  word  4 Jewish;’  the  picture  simply 
represents  a lady  richly  attired,  and  her  bridegroom — a man 
with  long  brown  hair.  Both  figures  are  admirably  painted, 
the  heads  full  of  life  and  expression.  It  has  been  surmised 
that  these  two  portraits  are  those  of  Rembrandt  and  his 
bride,  but  although  in  that  case  Rembrandt  has  allowed  him- 
self great  liberties  both  with  his  own  portrait  and  that  of 
his  wife,  the  question  gains  in  interest  when,  on  examining 
the  picture  known  as  4 Rembrandt  and  his  Family,’  we  find 
it  to  represent  the  same  people.  The  lady  is  here  seated, 
a child  on  her  lap,  while  two  little  girls  of  five  and  seven 
stand  by  her.  The  man  with  brown  hair  and  moustaches 
is  standing  on  the  left,  giving  a flower  to  one  of  th’e  girls. 


74 


REMBRANDT  TAN  RYN. 


There  is  a wildness,  and  yet  a precision,  in  the  execu- 
tion of  these  two  works,  which  is  imposing.  To  a close  in- 
spection, parts  show  the  colours  coarsely  laid  on  in  broad 
touches,  smooth  here  and  projecting  there,  but  from  a dis- 
tance the  whole  work  blends  and  melts  together  into  perfect 
harmony,  that  which  was  rude  and  superficial  before  grows 
deep  and  delicate.  The  woman’s  hands,  for  example,  are 
produced  like  those  of  ‘ Six,’  with  broad,  full  touches,  but 
at  a distance  they  are  perfect  in  design  and  modelling. 
The  man,  with  his  long  brown  hair  and  deep-coloured  dress, 
stands  in  the  shade;  foliage  is  seen  in  the  dark  background. 
The  woman  and  children,  in  brilliant  colours,  are  the  lumi- 
nous part  of  the  picture.  All  these,  almost  the  closing 
works  of  Rembrandt’s  life,  are  suggestive  of  one  of  Beet- 
hoven’s magnificent  finales. 

Rembrandt  remained  during  the  rest  of  his  life  in  his 
new  house  on  the  Rozengracht.  He  must  have  become  a 
widower  for  the  second  time,  for  in  1665  (probably)  he 
again  re-married.  The  third  wife  was  Catharina  van  Wijck, 
who,  with  two  children,  survived  him.  But  of  this  or  the 
preceding  marriage  we  have  but  the  barest  possible  infor- 
mation. Neither  his  second  nor  his  third  wife  seems  to 
have  been  in  any  way  equal  to  his  darling  Saskia. 

All  that  we  know  of  his  later  years  proves  that  the  re- 
port that  he  lived  in  a misanthropical  retreat  from  the 
world  is  false.  The  Rozengracht,  though  not  an  aristo- 
cratic quarter,  nor  exactly  answering  to  its  name  the  “ Rose 
Canal,”  was  not,  as  foreign  biographers  have  called  it,  “ a 
poor  quarter ; ” it  was  merely  an  out-of-the-way  part  of 
the  town  inhabited  by  small  citizens.  But  Rembrandt,  as 
we  know  from  the  experience  of  his  former  houses,  pre- 
ferred living  on  the  outskirts  of  the  town,  away  from  the 


DUTCH  LANDSCAPE. 

From  a drawing  by  Rembrandt , in  the  Albertina  Collection , Vienna. 


Rembrandt’s  later  tears. 


75 


bustle  and  noise  of  the  larger  streets.  The  Bloemgracht, 
the  Binnen-Amstel,  and  the  Breedstraat,  all  lay  near  the 
town  gates,  and  when  Rembrandt  had  again  to  choose  a 
house,  it  was  natural  enough  that  his  new  quarters  should 
again  be  at  the  extremity  of  the  city,  a few  steps  from  the 
boulevards,  with  their  fortifications,  their  windmills,  and 
their  gates  reminding  him  of  the  neighbourhood  of  Leyden. 
When  he  went  out  he  was  near  the  Raampoort,  a little  gate 
he  has  drawn ; and  following  the  circuit  of  the  town  walls, 
he  passed  other  gates — ‘ de  Zaagmolenspoort,’  1 het  Blauw- 
hoofd,’  4 de  Weteringspoort,’  each  of  whose  names  recalls 
one  of  his  sketches,  most  likely  taken  about  this  time. 

This  last  of  Rembrandt’s  houses,  which  the  diligence  of 
M.  Yosmaer  has  discovered,  is  far  from  striking  the  visitor 
as  having  been  a poor  retreat  where  the  artist  lived  in 
misery  : it  was  much  ornamented,  and  even  now  the  kitchen 
floor  is  of  slabs  of  Carrara  marble.  The  British  Museum 
possesses  a drawing  by  Rembrandt,  representing  his  studio 
in  the  house  on  the  Rozengracht,  which  is  easily  to  be  re- 
cognized as  a room  on  the  first  floor,  with  three  windows 
overlooking  an  adjacent  roof. 

In  this  studio  work  did  not  languish,  for  although  the 
painter  was  no  longer  so  wonderfully  fertile  as  during  the 
first  part  of  his  life,  neither  portraits  nor  pictures  of  this 
period  are  wanting.  And  what  wonderful  works  we  have 
in  these  later  years  ! It  is  the  period  of  the  highest  poetry 
of  light,  and  of  the  grandest  execution. 

We  have  followed  these  works  until  1668.  Although 
the  sun  is  setting,  it  still  sends  down  powerful  and  splendid 
rays.  The  gold  of  this  setting  sun  is  in  the  Darmstadt 
picture  of  1668,  It  represents  ‘Our  Lord’  with  raised 


76 


REMBRANDT  VAN  RVN. 


arms  and  body  bowed  forward  submitting  to  be  bound  by 
two  executioners  to  an  upright  pillar.  This  part  of  the 
composition  is  flooded  by  a brilliant  light,  worthy  of  Titian 
or  Giorgione.  The  two  executioners  stand  in  the  shade, 
but  are  touched  here  and  there  by  reflections  of  the  light : 
the  one  is  occupied  in  supporting  the  body  of  Jesus,  the 
other  is  binding  His  feet.  The  shadows  are  deep  but 
transparent,  the  execution  more  than  bold. 

A few  more  portraits  of  the  old  master,  and  his  work  is 
finished ! In  that  of  the  Pitti  Palace  we  see  him  wrapped 
in  fur,  a medal  is  hung  round  his  neck,  and  he  is  wearing 
a close-fitting  cap,  from  which  his  ample  white  hair  escapes. 
His  face  is  furrowed  with  age,  but  the  brightness  of  the 
eye  is  not  diminished. 

In  the  half-length  portrait  of  the  National  Gallery  (No. 
221),  he  turns  partly  away  from  the  spectator,  with  folded 
hands.  He  is  in  a brown  cloak,  with  a brown  cap  upon  his 
head.  The  painting  is  fine,  the  tone  warm,  and  the  model- 
ling profound,  but  the  effect  is  rather  dark. 

A third  portrait  is  in  the  Corsini  Palace.  Here  the 
handle  of  a dagger  projects  from  the  dress,  the  head  is 
crowned  by  a turban  of  white  linen,  and  the  right  hand 
brandishes  a roll  of  manuscript.  The  light  is  concentrated 
on  the  forehead,  the  eyebrows  are  raised,  the  eyes  are  merry, 
and  the  lips  are  smiling. 

In  the  splendid  portrait  in  the  Double  Collection  at 
Rouen,  he  again  stands  before  us,  with  bending  attitude 
and  slightly  inclined  head,  in  theatrical  costume,  with  his 
maul-stick  in  his  hand,  laughing  heartily.  And  this  is 
Rembrandt’s  farewell ! His  face  is  wrinkled  across  and 
across  by  time  and  care,  but  it  is  no  gloomy  misanthrope 
crushed  by  evil  fortune  whom  we  see,  but  the  man  who 


Rembrandt’s  later  tears. 


77 


opposed  to  all  fortunes  the  talisman  of  Labour,  and  thus 
paints  the  secret  of  his  life  in  his  final  portrait  of  himself, 
in  the  midst  of  his  work,  scorning  destiny. 

His  energy  fully  supported  him  in  the  disaster  of  1656  ; 
he  produced  his  marvels  of  art  with  unabated  industry ; 
his  house  is  comfortable,  he  loves  and  cultivates  his  art, 
and  his  last  portrait  shows  him  with  a laugh  of  satisfaction 
on  his  lips.  His  old  age  was  cheered  by  a company  of 
friends  and  admirers. 

Of  his  old  disciples,  now  brothers  in  art,  many  were  still 
living  in  Amsterdam  : Bol,  married  in  1653,  and  Flinck, 
married  for  the  second  time  in  1656,  were  both  in  easy  cir- 
cumstances. Rembrandt  was  not  the  man  to  envy  them 
either  their  wealth  or  the  success  which  oftentimes  at- 
tended them,  when  their  old  master  was  already  a little  for- 
gotten. But  we  have  no  reason  to  believe  that  Rembrandt 
was  neglected  either  by  them  or  by  Koninck  and  his  other 
disciples.  Bol  painted  Rembrandt’s  portrait.  Eeckhout, 
who  took  the  motive  for  his  picture  ^ The  Triumph  of 
Mordecai  ’ from  Rembrandt’s  etching,  and  Roeland 
Roghman,  remained  his  firm  friends.  Simon  de  Ylieger, 
Cappelle,  and  Griffier  are  among  his  younger  admirers. 
Coppenol,  the  two  Lutmas,  Heyblocq,  De  Decker  (who  died 
in  1666),  and  Francen  constantly  met  at  his  house.  Jan 
Petersen  Zomer,  a merchant  of  paintings  and  prints, 
who  also  had  a large  private  collection  of  pictures  and  en- 
gravings, among  them  many  of  Rembrandt’s,  calls  himself, 
although  much  younger  than  Rembrandt,  his  “ special 
friend  ” on  the  back  of  the  splendid  proof  of  the  ‘ Hundred 
Guilder  Print,’  which  the  painter  gave  in  exchange  for 
the  ‘ Pest  of  Marc  Antonio.’  The  painter’s  taste  for  beau- 
tiful things  did  not  cease  during  his  later  years. 


78 


REMBRANDT  VAN  RYN. 


Two  scholars,  Godfried  Kneller  and  Arnout  de  Gelder, 
studied  under  Rembrandt  towards  1668.  In  Arnont  de 
Gelder  the  influence  of  Rembrandt’s  later  works  is  very- 
obvious.  Many  of  his  pictures  reproduce  subjects  familiar 
to  his  master.  Houbraken  has  left  us  the  following  curious 
account  of  him.  “ He  had,”  he  says,  ‘‘a  heap  of  all  kinds 
of  dresses,  tinsel,  arms,  brocaded  stuffs,  veils,  torn  like  the 
shreds  of  flags  which  hang  in  the  Great  Hall  of  the  Bin- 
nenhof  at  the  Hague,  shoes  and  slippers ; the  walls  of  his 
studio  were  encumbered  with  this  sort  of  things.  They 
served  him  to  decorate  his  models  and  his  lay-figures.  He 
paints  not  only  with  his  paint-brush,  but  also  with  his 
thumb  and  fingers.  Sometimes  he  lays  on  his  colours  with 
his  palette  knife  ; for  example,  when  he  paints  laces  or  bro- 
cade, he  first  sketches  the  design  of  the  laces  or  brocade  with 
the  handle  of  his  paint-brush  ; he  disdains  no  expedient  if 
it  will  serve  his  purpose,  and  it  is  astonishing  what  a good 
effect  it  makes  at  a distance.” 

It  is  curious  that  Houbraken  admires  in  Gelder  what  he 
considers  a fault  in  Rembrandt.  This  description  of  Gel- 
der’s  manner  of  painting  gives  us  a very  good  idea  of 
Rembrandt’s,  especially  towards  the  end  of  his  career. 

Thus  we  see  that  the  last  years  of  the  great  master’s  life 
were  spent  in  work  and  study,  surrounded  by  his  friends 
and  family.  He  had  again  a house  to  live  in,  and  a wife 
and  two  or  three  children  gathered  round  him. 

His  son  Titus  was  advancing  in  life,  and  was  also  a 
painter.  The  inventory  of  1656  mentions  two  or  three 
sketches  and  studies  by  Titus,  but  unfortunately  none  of 
his  works  survive  to  enable  us  to  judge  whether  he  in- 
herited his  father’s  talent.  In  1665  Titus,  who  was 
twenty-four  years  old,  demanded  and,  after  going  through 


DEATH  OF  REMBRANDT. 


79 


the  necessary  formalities,  received  his  fortune.  From  the 
manuscript,  we  learn  that  he  was  engaged  in  trade : Hou- 
braken  says,  that  he  was  a dealer  in  art  objects.  In  1668 
Titus  married  his  cousin,  Magdalena  van  Loo,  and  went  to 
live  on  the  Singel,  one  of  the  three  large  quays  which  sur- 
round the  eastern  side  of  the  town,  opposite  the  apple- 
market,  in  a house  bearing  the  emblem  of  “The  Golden 
Scales  ; ” but  here  very  soon,  in  the  September  of  the  same 
year,  he  died.  In  March,  1669,  his  widow  gave  birth  to  a 
daughter,  at  whose  baptism  Rembrandt  was  present,  and 
who  received  the  name  of  Titia.  The  mother  died  in  the 
course  of  the  same  year. 

Rembrandt  himself  did  not  long  outlive  his  son.  During 
the  early  part  of  October,  1669,  the  man  who  in  his  last 
portrait  still  appears  healthy  and  robust,  was  seized  with 
some  malady  which  shortly  afterwards  proved  fatal.  In 
the  Doodboek  of  the  Wester  Kerk  is  this  registry : “ Tues- 
day 8th  October  1669,  Rembrandt  van  Ryn,  painter,  of  the 
Rozengracht  opposite  the  Doolhof,  leaving  two  children.” 


CHRONOLOGY  OF 
REMBRANDT’S  DOMESTIC  LIFE. 

Born  at  Leyden  on  July  15  ....... 

Placed  with  Isaac  van  Swanenburg  ....  about 

Went  to  study  with  Lastman  in  Amsterdam  .... 

Returned  to  his  father’s  house  at  Leyden 

Went  to  live  in  apartments  in  the  Bloemgracht,  Amsterdam 
Removed  to  a house  in  Sint  Antonie  Breedstraat  . about 

Harmen  van  Ryn,  his  father,  died  ...... 

Married  Saskia  van  Ulenburgh  . 

Lived  in  Nieuwe  Doelstraat  ....... 

Removed  to  the  Binnen-Amstel  (at li De  8uijckerbackerij,: ) . 
Bought  a house  in  Jodenbreedstraat,  in  which  he  lived  for  18  years 

Neeltje  van  Ryn,  his  mother,  died 

Titus  born  (the  only  child  of  Saskia  who  lived  beyond  infancy)  . 

Saskia  van  Ulenburgh  died 

Married  Hendricktie  Stoffels about 

His  insolvency  registered,  May 

Hendricktie  Stoffels  died  ......  about 

His  household  goods  seized  for  his  creditors  .... 

Went,  with  Titus,  to  live  at  the  Inn,  the  Keizerskroon 
His  house  in  Jodenbreedstraat  sold,  Feb.  . 

His  household  goods  sold,  Sept 

Went  to  live  on  the  Rozengracht  . . 

Married  Catharina  van  Wijck 

Titus  married  his  cousin  Magdalena  van  Loo  .... 

Titus  died,  Sept 

Magdalena  van  Loo  died  (leaving  one  child,  Titia) 

Rembrandt  died,  Oct.  8 ....... 


1607 

1619 

1622 

1623 

1630 

1632 

1632 

1634 

1636 

1639 

1640 

1640 

1641 

1642 
1653 
1656 

1656 

1657 

1657 

1658 
1658 
1658 
1665 
1668 
1668 
1669 
1669 


NOTES. 


Note  1 ,page  1. 

The  city  of  Leyden  stands  on  a cluster  of  fifty  islands,  near  the 
mouth  of  the  Old  Rhino,  and  has  145  bridges.  It  is  celebrated  in  history 
for  the  long  siege  it  sustained  in  the  year  1574,  when  Holland  was 
struggling  to  throw  otf  the  yoke  of  Philip  II.  of  Spain.  For  seven 
weeks  the  inhabitants  were  without  supplies,  and  although  six  thousand 
died  of  famine  and  pestilence,  the  burgomaster,  Pieter  Adriaanszoon  Van 
der  Werff,  who  offered  his  own  body  to  those  who  implored  him  to  capitu- 
late, held  the  town  until  it  was  at  length  relieved  by  the  Prince  of  Orange, 
who  broke  down  the  dykes,  flooded  the  country,  and  drowned  many 
hundred  of  the  Spanish  soldiers.  In  recompense  for  the  sufferings  of  the 
Leydeners  the  Prince  of  Orange  offered  to  remit  certain  of  their  taxes, 
or  to  establish  a university  in  their  city.  They  chose  the  latter,  and  in 
the  very  next  year  (1575)  the  University  of  Leyden  was  opened  by  the 
prince  in  person.  Many  celebrated  men  have  studied  there,  and  at  the 
present  time  there  are  eight  or  nine  hundred  scholars.  The  population 
of  Leyden,  which  in  1640  amounted  to  about  100,000,  was  in  1875  a 
little  over  40,000. 

Note  2,  page  2. 

The  real  story  of  the  mills  is  as  follows  : — On  the  23rd  November, 
1574  (the  year  of  the  famous  siege)  Jan  Cornelis  van  Schagen  and  Lijs 
beth,  the  daughter  of  Harmen,  the  widow  of  Gerrit  Roelofs,  as  partners 
(in  business  only)  built  a mill.  A contemporary  chart  of  the  city,  dated 
1574,  shows  this  mill  on  the  northern  corner  of  the  ramparts.  This 
widow,  Lijsbeth,  who  was  the  grandmother  of  Rembrandt,  married  Cor- 
nelis, the  son  of  Claes,  in  1575,  and  thereupon  sold  her  share  in  the  mill. 
The  deed  of  transfer  is  dated  3rd  September,  1575.  The  mill  is  called 

O 


82 


REMBRANDT  VAN  RYN. 


THE  WHITE  GATE  OF  LEYDEN. 

From  a Manuscript  by  Petrus  Bastius,  dated  1600. 


Showing  the  two  mills  on  the  ramparts  which  belonged  to  the  Van 
Ryn  family  ; and  the  house  in  “ de  Weddesteeg  ” 

(No.  3)  in  which  Rembrandt  was  born. 


NOTES. 


83 


the  “ Romein.”  But,  before  selling  her  share  m the  “ Romein,”  the 
widow  had  recently  bought  another  mill,  which  she  had  transferred  from 
the  village  of  Noordwyk  to  the  ramparts  opposite  to  the  Weddesteeg. 
In  August,  1575,  this  second  mill  was  finished.  On  30th  November, 
1575,  Cornelis,  the  husband  of  Lijsbeth,  makes  a declaration  before  the 
aldermen,  to  the  effect  that,  a short  time  before  their  marriage,  his  wife 
had  bought  of  Jan  van  der  Does,  Seigneur  of  Noordwyk,  a mill,  which 
she  had  transported  to  Leyden,  for  900  florins.  Two  mills  accordingly 
appear  upon  the  ramparts  on  the  interesting  map  dated  1600,  engraved 
by  Peter  Bastius — one  on  the  north,  sold  in  1575,  the  other  near  the 
White  Gate.  In  1589,  Harmen  the  son  of  Gerrit  (Rembrandt’s  father) 
bought  half  of  this  last  mill  from  his  mother’s  husband.  The  partnership 
in  the  mill  repeatedly  varied.  In  1602,  Harmen’s  share  was  five-eighths  ; 
that  of  Cornelis  three-eighths.  In  1606  they  sell  a quarter  to  Claes,  the 
son  of  Cornelis.  In  1627  the  widow  of  Cornelis  Claeszoon  van  Berckel 
sells  her  quarter  to  the  same  Claes  Corneliszoon.  In  1636  the  widow 
of  Claes  Corneliszoon,  then  owning  half,  sells  it  to  Clement  Lenaerts 
Ruysch.  In  1640,  on  the  death  of  Rembrandt’s  mother,  half  of  the  mill 
fell,  in  the  partition  of  her  fortune,  to  her  eldest  son,  Adriaen,  who  bought 
the  other  half  from  Ruysch.  In  the  end  the  mill  was  removed  by  Adriaen 
( i.e . Rembrandt’s  brother)  to  the  other  side  of  the  White  Gate,  and  hence- 
forth it  disappears  from  its  accustomed  place  in  the  maps  of  the  city,  and 
appears  outside  the  gate,  and  stands  there  to  this  day,  rebuilt  in  stone. 


Note  3,  page  4. 

It  is  singular  that  Orlers’  first  sentence  is  a blunder.  “ Rembrandt 
van  Ryn,”  he  says,  “ son  of  Harmen  the  son  of  Gerrit  van  Ryn,  and  of 
Neeltjen  Willems  van  Suydtbrouck,  was  born  in  the  city  of  Leyden  on 
the  15th  July,  1606.”  This  date  has  been  generally  accepted.  P.  Schel- 
tema,  “ archiviste  ” of  Amsterdam,  was  the  first  to  publish  an  extract 
from  the  official  register  of  Rembrandt’s  marriage  with  Saskia  van 
Ulenburg,  running,  “ 10  June,  1634,  Rembrandt,  the  son  of  Harmen 
van  Rhyn,  aged  twenty-six  years.”  Now  1634,  minus  twenty-six,  gives 
us  1608.  But  Rembrandt’s  birthday  was  the  15th  July  (Houbraken 
says  15th  June  !),  and  he  was  therefore  still  in  his  twenty-seventh  year 
at  the  date  of  his  marriage,  the  register  quoting  his  age  at  his  last  birth- 
day j but  an  etching  signed  by  Rembrandt  himself  decides  the  question, 
the  signature  is  “ R.  H.  f.,  1631,  set.  24.”  He  is,  therefore,  by  his  own 
evidence,  proved  to  have  been  born  in  1 607. 


84 


REMBRANDT  VAN  RTN. 


Note  4,  pages  30  and  53. 

Martin  Day,  the  grandson  of  an  English  officer  who  accompanied  the 
Earl  of  Leicester  to  Holland,  was  born  at  Breda  in  1604,  and  when 
twenty -five  years  of  age  married  Johanna  Machteld  van  Doom,  whose 
portrait  Rembrandt  painted  in  1643.  These  pictures  have  been  lately  sold 
by  the  Van  Loon  family  to  Baron  Gustave  de  Rothschild.  . Etchings  of 
both  by  Flameng  have  recently  appeared  in  the  “ Gazette  des  Beaux  Arts.” 

Note  5,  page  32. 

Of  the  Ulenburgh  family  we  have  many  trustworthy  records.  At  the 
end  of  the  sixteenth  century,  Rombertus  Ulenburgh,  a lawyer,  lived  at 
Leeu warden,  the  capital  of  Friesland,  the  most  northerly  of  the  provinces 
of  the  Netherlands,  and  in  1596  was  burgomaster  of  the  town.  In  the 
last  years  of  his  life  he  became  a member  of  the  Frisian  Court.  He 
married,  we  are  told,  Sjukie  Osinga,  and  by  her  had  three  sons  and  six 
daughters.  The  two  eldest  sons  became  barristers,  the  third  went  into 
the  army.  Of  the  daughters,  the  eldest,  Antje,  married  Joannes  Mac- 
covius,  a professor  at  Franeker  ; the  second,  Hiskia,  Gerrit  van  Loo,  a 
government  secretary ; the  fifth,  Hendrikje,  Wijbrand  de  Geeste,  a 
talented  painter  ; and  the  sixth,  Saskia,  became  the  wife  of  Rembrandt. 

In  1633  Saskia  was  living  with  her  sister  Antje  at  Franeker,  and  on 
the  10th  of  June,  1634,  she  was  married  to  Rembrandt  at  the  Anna-kerk, 
at  Bildt,  by  Jan  Cornelis  Sylvius,  who  was  the  husband  of  her  cousin 
Aaltje. 

The  mother,  Sjukie,  died  in  1619,  and  Rombertus  himself  in  1624,  when 
Saskia  was  only  twelve  years  old.  At  the  same  time  there  were  living  in 
Amsterdam  two  brothers,  nephews  of  the  lawyers,  Rombertus,  a painter, 
and  Hendrik,  a dealer  in  prints  ; and  one  niece,  Aaltje,  who  married 
the  learned  minister  Jan  Cornelis  Sylvius.  It  was  probably  through 
Hendrik  Ulenburgh  that  Rembrandt  was  introduced  to  the  family, 
which  it  will  be  seen  must  have  been  of  some  importance  in  the  repub 
lican  Netherlands. 


CHRONOLOGICAL  LIST  OF  REMBRANDT’S 
PAINTINGS. 


Those  marked  with  * have  been  etched  by  Unger ; those  with  + by  Flameng ; 
and  those  with  t by  Massaloff. 


Name  of  Painting. 

1627.  St.  Paulin  Prison.  Sold  in  1867  for  4,' 000  francs  . 

1629.  St.  Jerome  in  a Cave.  Engraved  by  Van  Vliet 

1630.  Lot,  or  the  Philosopher  in  a Cave.  Known  by 

Schmidt's  engraving. 

Portrait  of  an  Old  Man.  Life  size  . . * 

Portrait  of  an  Old  Man.  Bust,  on  octagon  panel  . 
Portrait  of  a Young  Man,  resembling  Bembrandt  . 
Portrait  of  Philon,  the  Jew. 

Portrait  of  a Man,  gorget,  gold  chain,  earrings.  + 
Portrait  of  Rembrandt,  when  a very  young  man 

1631.  St.  Simeon  in  the  Temple,  with  the  Infant  Christ. 

Sold  in  1730  for  30  guineas  .... 

St.  Anastatius  . .... 

St.  Peter  in  Prison  ...... 

Holy  Family — Household  of  Joseph 
Lot  and  his  Daughters.  Engraved  by  Van  Vliet. 
The  Baptism  of  the  Eunuch.  Engraved  by  Visscher. 
Portrait  of  a Young  Man  ..... 

Portrait  of  a Man,  said  to  be  Grotius  . 

Portrait  of  a Rabbi.  Sold  for  3,400  francs  in  1850 
Prophetess  Anna.  Sold  for  12,500  francs  in  1867 

Portrait  of  a Young  Girl 

An  Old  Man,  with  white  beard  and  a skull  cap. 

An  Officer,  said  to  be  Prince  Geo.  Bagocy  of  Tran- 
sylvania. 

1632.  The  Lesson  in  Anatomy  of  Professor  Nicolaas 

Tulp, containing  eight  portraits.  Sold  for  32,000 
florins  in  1828  . . . . . x* 


Possessor. 

Stuttgart. 

Berlin. 


Cassel. 

Cassel. 

The  Hague. 


Dk.  Westminster. 

The  Hague. 
Stockholm. 

Mr.  E.  Andre. 
Munich. 


Windsor. 

Brunswick. 

Mr.  Weimar. 
Oldenbourg. 

M.  De  la  Hante. 


'he  Hague. 


86 


CHRONOLOGICAL  LIST  OF 


Name  of  Painting. 

1632.  Christ  and  Nicodemus.  Engraved  by  Greenwood. 

* Rape  of  Proserpine 

Rape  of  Europa.  Formerly  in  the  Morny  collection. 
Moses  saved  from  the  Nile.  Sold  for  2,550  francs 
Portrait  of  a Man.  Sold  for  16,000 francs  in  1855 
Matthijs  Kalkoen.  Sold  for  15,500  francs  in  1866 
Portrait  of  Maurits  Huygens,  Secretary  of  State. 

Sold  for  8,200  francs  in  1870  to  . 

Lieven  van  Coppenol,  seated , mending  his  pen 
Portrait  of  a Man.  Seated  at  a table  . . \ 

An  Oriental,  sold  for  4,500  florins  in  1850  . 

An  Old  Man,  uncovered,  with  chain  <$f  medal  in  gold* 
Portrait  of  an  Old  Man,  with  bald  head , slightly  bent 
^ Portrait  of  a Young  Woman,  sitting  in  an  arm-chair 
Portrait  of  a Blonde  Young  Woman.  Profile  only 
^ Portrait  of  a Man.  Half-length , life  size,  seated  . 
\N  Portrait  of  a Woman.  Half  -length,  life  size,  seated 
Portrait  of  a Lady.  Sold  for  1,000 francs  in  1794 
Gentleman  and  Wife.  Formerly  in  the  collection  of 
Portrait  of  Jan  Pellicorne  and  / Sold  for  \ 

his  Son J 32,000 fr.  I 

His  Wife  and  Daughter  . . ( in  1830.  j 

Portrait  of  Nicolaas  Ruts.  This  picture  perished  in 
1807.  A Water-colour  Copy  by  Delfoss  belongs  to 
Portrait  of  Martin  Looten. 

Portrait  of  a Man.  In  black,  with  ruffled  collar 
The  Betrothed  Jewess.  Sold  for  115  guineas  in  1832 
Rembrandt’s  Wife  ? Sold  for  1,601  francs  in  1793. 
Portrait  of  a Young  Girl. 

Portrait  of  an  Old  Woman. 

Portrait  of  a Man  (Rembrandt  ?)  . 

Rembrandt,  as  a young  man.  Engraved  by  Van  Bleek. 
Man  in  middle  age.  With  black  costume  and  hat 
Young  Girl.  Sold  for  79,500  francs  in  Paris. 

1633.  Susanna  and  the  Elders 

The  Raising  of  the  Cross.  Engraved  by  Hess 

'S  Descent  from  the  Cross.  Eigraved  by  Hess  . 
Descent  from  the  Cross.  Engraved  by  Picart,  <fc  . 
The  Good  Samaritan.  Sold  for  140  guineas  in  1813. 
The  Bark  of  St.  Peter.  Soldfor  \,2>WfrancsinYll\. 
A Philosopher  in  Contemplation.  Sold  for\ ,300  livres 


Possessor. 

Berlin. 

Sir  R.  Peel. 
Seillieres  Coll. 
Seillteres  Coll. 

M.  Wesselhoeft. 
Cassel. 

The  Hermitage. 
M.  Nieuwenhuis. 
Cassel. 

Cassel. 

Vienna. 

Stockholm. 

Vienna. 

Vienna. 

Bridgewater  Gal. 
Wynn  Ellis. 

Sir  R.  Wallace. 


Mr.  F.  Muller. 

Mad.  de  Sagen. 
Seguier  Coll. 


The  Hermitage. 

Lockhorst  Coll. 

Youssoupoff  Coll. 
Munich. 

Munich. 

National  Gall. 

Sir.  R.  Wallace. 
Hope  Coll. 
Louvre. 


THE  RAISING  OF  LAZARUS. 
From  the  etching  by  Rembrandt. 


iyfS/tf 


I 


Rembrandt’s  paintings. 


87 


Name  of  Painting. 

1633.  Portrait  of  a Philosopher  in  Meditation  . 

The  Student  Philosophers.  Eng.  by  TJnger 
Shipbuilder  and  Wife.  Sold  for  16,500 fr.  in  1810 
Portrait  of  a Lady.  Said  to  be  the  Wife  of  Grotius . 
Picture  with  Two  Portraits  ..... 
Portrait  of  Saskia.  Eng.  by  Oortman  and 
Flameng.  Sold  for  40,000 francs  . . . J* 

* Portrait  of  Saskia.  Three-quarter  face , smiling  | 

Young  Woman,  with  a white  and  a green  feather. 
Portrait  of  Rembrandt.  Life  Size  .... 
A Young  Man.  Bust , resembling  Bemhrandt  . 

A Young  Man.  Resembling  the  'picture  above  . 
Portrait  of  Joh.  Uytenboogaert. 

^ Portrait  of  Willem  Burggraef . 

Margaretha  Hendricksee  Bilderdyk,  his  Wife  . 
Portrait  of  a very  young  and  fair  Girl.  Sold  for 

21,600  francs  in  1868  

Portrait  of  a Young  Man.  Sold  far  34,500 
francs  at  the  Pourtales  Sale  in  1865. 

Portrait  of  aYoungBoy.  Soldin  1865 for  25,000 francs 
Portrait  of  a Man.  Resembling  Gerard  Dou  . 

A Young  Man.  Almost  profile,  with  cap  and  plumes. 
A Man,  about  forty  years  old.  Eng.  by  Riedel. 

A Woman,  about  35  years  old,  with  cap  a,nd  lace  ruffle 
1C34.  Queen  Artemisia  ....... 

Incredulity  of  St.  Thomas.  [Small.)  . . J 

Descent  from  the  Cross  . ...  \ 

Repentance  of  St.  Peter.  Eng.  by  Van  Vliet. 

Judas  returning  the  Thirty  Pieces  of  Silver.  Eng. 
by  Van  Vliet. 

Portrait  of  Martin  Day.  Sold  with  that  of  his  Wife 
for  12,000  francs  in  1799  to  Van  Loon  . f 
Portrait  of  M.  Ellison.  \ Sold  for  1,850  j 
Portrait  of  Mme.  Ellison  } guineas  in  1860  \ 

Portrait  of  Jan  Harmensz  Krul  (the  Poet) 

Portrait  of  Nicolaas  Tulp  J 
Portrait  of  his  Wife  . S 
Rembrandt,  in  part  armour.  Eng.  by  de  Frey 
Portrait  of  a Man.  Sold  for  600  livres  in  1772 
^ Portrait  of  Rembrandt.  Three-quarter face , life  size. 
^ Portrait  of  Rembrandt,  with  gorget  and  gold  chain  . 


Possessor. 
Louvre. 
Brunswick. 
Buckingham  Pal. 
Brunswick. 

Hope  Coll. 

Cassel. 

Dresden. 

Louvre. 

Gotha. 

Cassel. 

Dresden. 

Stadel  Coll. 

Mad.  Cassin. 


J.  de  Rothschild, 
Gotha. 


Mr.  Roos. 
Madrid. 

The  Hermitage. 
The  Hermitage. 


G.  de  Rothschild. 
M.  Schneider 
Cassel. 

Seilli^res  Coll. 

The  Hague. 
Louvre. 

Berlin. 

Berliru 


88 


CHRONOLOGICAL  LIST  OF 


Name  of  Painting. 


Possessor. 


1634.  Rembrandt,  as  a young  man , without  moustache 
Saskia.  Same  attiUide  as  in  the  Jewish  Bride  . 

A Man,  with  helmet  and  cloak , resembling  Rembrandt 
Portrait  of  Old  Lady.  Sold  for  200  guineas  in  1833 
Portrait  of  a Young  Woman , flowers  in  her  hair  f 
Portrait  of  a Lady,  as  a Shepherdess.  Withdrawn 
at  2,600  florins  from  a sale  at  Amsterdam  in  1770. 
Philippus  van  Dorp,  Admiral  of  Holland  . f 
Portrai  t of  Lancelot  von  Brederode.  Eng.  by  Stolker. 
Portrait  of  a Man.  Sold  from  Coll.  St.Foy  for  2,380 fr. 
Six  Portraits  of  Old  Men.  Engraved  by  Van  Vliet. 
Portrait  of  a Man.  Formerly  in  the  Morny  Coll. 

A Man,  resembling  Rembrandt.  Eng.  by  Raid. 

1635.  Abraham  offering  up  Isaac.  Sold  for  £300  in  1779  f 
^ Samson  threatening  his  Father  in  Law.  Engraved 

'X obiasandWife,  sitting  under  aVine.  Eng.  by  Schmidt. 
^ Abduction  of  Ganymede.  Eng.  by  C.  G.  Schultze. 
The  Nymph  Calisto. 

Portrait  of  an  Old  Rabbi 

Portrait  of  an  Officer.  Sold  for  185  guineas  in  1801. 

Head  of  an  Old  Man 

Head  of  an  Old  Man,  with  slight  beard  and  moustache. 

Portrait  of  a Young  Woman 

Portrait  of  a Woman  ( Rembrandt's  Wife) 

^ Portrait  of  Rembrandt,  in  violet  velvet  mantle  . 
Young  Woman  (Saskia?).  Soldt for  3,001  fr.in  1793. 
Young  Man,  with  gorget,  gold  chain , violet  dress 

1636.  Samson  bound  and  blinded  by  the  Philistines  . 
Tobias  restoring  sight  to  his  Father.  Sold  for  103 

guineas  in  1829  ....... 

The  Repose  during  the  Flight  into  Egypt  . f 
^ The  Ascension.  Eng.  by  Hess  .... 

Return  of  the  Prodigal  Son.  Sold  for  6,000 

livres  in  1764  t 

Danae  awaiting  Jupiter’s  Visit  t 

Portraits  of  a Lady  and  Gentleman,  in  a Landscape. 
Portrait  of  an  Old  Jew.  Sold  in  1852  for  8,000  fr.\ 

Portrait  of  an  Old  Woman 

Portrait  of  Manasseh-ben-Israel,  about  thirty. 

Winter  Scene,  with  Skaters  ....  * 

^ Landscape.  A View  of  Amersfoort 


Pitti  Palace. 
Donnadieu  Coll. 
Cassel. 

National  Gall. 
The  Hermitage. 


The  Hermitage. 


The  Hermitage. 
Berlin. 

Dresden. 

Hampton  Court. 
Fitz-WilliamColi. 
Anguiot  Coll. 
Cassel. 

Stadel  Coll. 

D.  of  Dalkeith. 
LiechtensteinGall. 

Sir  R.  Wallace. 
Cassel. 

Arenberg  Cull. 
Berlin. 

Munich. 

The  Hermitage. 
The  Hermitage. 
De  Vence  Coll. 
The  Hermitage. 
Hopetoun  Coll. 


Cassel. 

Berlin. 


// 


REMBRANDT’S  PAINTINGS. 


89 


Name  of  Painting. 

I *>37.  The  Parable  of  the  Lord  of  the  Vineyard 
The  Angel  leaving  Tobias  and  his  Family 
The  same  subject,  with  the  Angel  seen  in  full-face  . 
Susannah,  about  to  enter  the  Bath  .... 
Portrait  of  Rembrandt.  Three-quarter  bust  {oval)  . 
Portrait  of  a Man,  called  the  Burgomaster 
Portrait  of  Rembrandt,  aged  thirty .... 
A very  tall  Man,  with  heavy  moustache.  Full  length  { 
Portrait  of  a Young  Man.  Sold  for  1 50  guineas  in  1 83 1 
Portrait  of  an  Old  Woman.  The  Head  only. 
Portrait  of  EJeazar  Swalmius.  Sold  far  £ 850  in  1848 
1638  Samson’s  Wedding  .....  J 
Christ  appearing  to  Mary  Magdalen  in  the  Garden 
Joseph  telling  his  Dreams  to  his  Father  and  Breth- 
ren. Sold  for  14,700 francs  in  1833  . 

Portrait  of  an  Old  Man.  Oval,  life-size 
^ Rembrandt,  with  his  Wife  on  his  Knee.  Sold 
for  2,500  francs  in  1749 
Portrait  of  a Warrior,  with  a large  helmet 
1639.  Joseph’s  Two  Brethren  showing  his  Coat  to  his 
Father.  Sold  for  1,160  francs  in  1773 
The  same  subject,  different  only  as  to  colouring 
The  Entombment  C Painted  for  the  Stadtholder  of) 
The  Resurrection  ( the  Netherlands  . . ) 

nN  The  Entombment,  with  eleven 'principal  figures.  Sold 

for  2,300  francs  in  1763  

^ A Sportsman  hanging  up  a Bittern 
Study  of  a Bittern.  After  Nature. 

^ Rembrandt’s  Mother,  with  her  hands  on  a stick 
Rembrandt,  leaning  against  a wall. 

Rembrandt’s  Mother,  seated , with  her  hands  joined  $ 
Rembrandt’s  Mother,  with  a red  shawl  on  her  head  + 
Portrait  of  a Man.  Full-length  size  . . 

Portrait  of  a Lady,  about  middle  age 

Portrait  of  a Young  Woman 

Portrait  of  an  Old  Man,  with  a grey  beard 
Landscape,  with  Mountain.  In  1801  in  cabinet  of 
1 6 10 . Abraham  turning  away  Hagar  . . . t 

The  Witch  of  Endor.  Sold  for  25,000  francs  in  1867 
Holy  Family.  Sold  for  17 ,120  francs  in  17  93 
Salutation  of  St.  Elizabeth.  Engraved  by  Burnet  . 


Possessor. 

The  Hermitage. 
Louvre. 

Sir  G.  Wombwell. 
The  Hague. 
Louvre. 

Bridgewater  Gal. 
Buckingham  Pal. 
The  Hermitage. 
Kalkbrenner  Coll. 

Earl  Dudley. 
Dresden. 
Buckingham  Pal. 

Six  Coll. 

Louvre. 

Dresden. 

Brunswick. 

Earl  of  Derby. 
The  Hermitage. 

Munich. 


Dresden. 

Dresden. 

Vienna. 

The  Hermitage. 
The  Hermitage. 
Cassel. 

Emmerson  Coll. 
Dykveld  Coll. 
Metz. 

M.  de  Merrene. 
Crespigny  Coll. 
Schouborn  Gall 
Louvre. 

D.of  Westminster. 


00 


CHRONOLOGICAL  LIST  OF 


Name  of  Painting. 

1640.  Descent  from  the  Cross 

Rembrandt,  in  dark  cap.  Etched  by  Waltner  J 
Portrait  of  Rembrandt,  at  about  thirty  . 

Portrait  of  Rembrandt  ...... 

A Young  Man,  with  black  moustache  and  iron  gorget. 
Portraitof  a Man,  about  forty-five.  Half-length  life  size 
Portrait  of  Domer,  wrongly  called  c Le  Doreur. 3 Sold 

for  155,000  francs  in  1865  . . . . f 

Portrait  of  a Young  Woman,  with  a Child. 

Old  Woman  of  87  years.  Sold  for  55,000  fr.  in  1868 
Portrait  of  a Young  Woman.  Three-quarter  life  size 
Landscape,  with  tufted  trees  . ...  * 

^ Landscape,  with  woods,  farms , and  river  . 

1641.  The  Angel  leaving  Manoah  and  his  Wife 

^ A Landscape,  with  the  figures  of  Ruth  and  Boaz 
Susannah  surprised  by  the  Elders.  Sold  at  Sir  Joshua 
Reynolds 3 sale  for  £156. 

A Father  settling  his  Daughter’s  Dowry  . 

St.  Jerome.  Hitched  by  Busch. 

Christ  appearing  to  Mary.  Etched  by  Busch. 

Young  Woman,  also  known  as  “ The  Jewish  Bride  ”* 
Portrait  of  Anna  Wymer,  wife  of  Jan  Six 
Anslo  and  his  Wife.  Withdrawn  in  1850  at  £4,200 
Saskia  van  Ulenburg.  Sold  for  1,500  livres  in  1743 
LadywithaFan.  Soldforl  ,000 gu.toLordC. Townsend 
Gentleman.  Companion  to  above.  Sold,  in  1841, /or 
15,000  francs  ...  ... 

Portrait  of  a Gentleman.  Three-quarter  length  life 
size.  Sold  for  275  guineas  in  1832 
Portrait  of  a Young  Gentleman  .... 
Portrait  of  a Young  Lady.  Companion  to  above. 

A Lion  Lying  Down.  Now  much  damaged. 

1642.  Sortie  of  the  Company  of  Frans  Banning 

Cock,  known  as  the  “ Night  Watch  ” . *t+ 

A Sketch  of  the  above  painting,  of  doubtful  authen- 
ticity, was  left  by  the  Rev.  Thos.  Halford  to  the 
Reconciliation  of  Jacob  and  Esau  .... 
Portrait  of  Saskia.  Sold  for  37,000  francs  in  1850  . 
^ Portrait  of  a Noble  Lady,  with  tu/rban 

Portrait  of  a Young  Lady.  Sold f orb,' 000 francs  in  1822 
Portrait  of  a Young  Lady.  Bust  only  . . *t 


Possessor. 
Mar.  of  Abercorn. 
National  Gallery. 
Dk.  of  Bedford. 
Sir  R.  Wallace. 
Sir  R.  Wallace. 
Dk.  of  Portland. 

Mme  de  Morn}*. 
Van  Cuyk  Coll. 
M.  Narishkine. 
Luckner  Coll. 

M.  Miethke. 
Munich. 

Dresden. 

Berlin. 


Lanckoronski. 


Lanckoronski. 

Six  Coll. 

Ld.  Ashburnham. 
Dresden. 
Buckingham  Pal. 

Brussels  Gall. 

Emmerson  Coll. 
Ashburton  Coll. 


Amsterdam. 

National  Gallery. 

Peterhof. 

Antwerp. 

Berlin. 

M.  of  Lansdowne. 
Cassel. 


Rembrandt’s  paintings. 


91 


Name  of  Painting.  Possessor. 

1 642.  Portrait  of  Young  Lady.  Three-quarter face.  Eng.  by  Hess . 

Portrait  of  a Y oung  Lady.  Full face.  Engraved  by  Hess 

^ Portraitof  a Young  Man,  moustacheand  tuft  beard 

^ Portrait  of  a Lady.  Wife  of  the  above  . 

Portrait  of  a Lady,  with  a crook  .... 

Portrait  of  a Lady.  Full  face  .... 

Portrait  of  Rembrandt.  At  thirty -five  years  of  age  . 

1643.  Bathsheba  at  the  Bath.  Sold  far  7,880/r.  in  1841 

^ Diana  and  Endymion 

Philemon  and  Baucis  receiving  Jupiter  and  Mercury. 

^ An  Old  Woman  weighing  Money  .... 

Portrait  of  Madame  Day  ( Van  Loon  Coll.)  . f 
The  Philosopher.  Sold  for  3,700 francs  in  1828 
Portrait  of  an  Old  Woman,  said  to  be  Bembrandt’s 
mother.  Sold  for  49  guineas  in  1801  , 

Portrait  of  an  Old  Woman.  Engraved  by  Schmidt  % 

Portrait  of  a Nobleman.  Said  to  be  an  Admiral 
Portrait  of  I is  Wife,  with  fan  in  her  hand 
Doctor  Heynsius,  Professor  at  Leyden  . 

Portraitof  Rembrandt.  Sold  far  4,000  francs  in  1823 

Portrait  of  Rembrandt 

Man  with  Ealcon  } Withdrawn  at  the  Grand-  > 

His  Wipe  . . ( pre  Sale  at  40, 000 francs.  S 

^ Portrait  of  a Young  Man.  Bust.  .... 

The  Burgomaster  Six.  Sold  far  30,000  francs 
Landscape.  With  village,  river,  and  bridge 
Landscape.  With  mountains.  Sold for  350  gu.  in  1828 

1644.  The  Woman  taken  in  Adultery.  Sold  for  £ 6,000 
J.  C.  Sylvius.  Sold  in  1872  far  38,500 francs  to  . 

Portrait  of  a Lady.  Said  to  be  the  wife  of  Sylvius  . 

Portrait  of  a Young  Man,  with  a 'pale  and  serious  face 

Portrait  of  a Young  Man 

Portrait  of  an  Old  Man,  with  beard 
An  Old  Man,  with  beard  and  white  moustache  . 

Portrait  of  Klaas  van  Ryn.  Engraved. 

164l>.  Tobias  and  his  Wife 

The  Angel  visiting  Tobias  and  his  Family 
^ Mary  and  Joseph  warned  in  a Dream 

Holy  Family,  with  six  angels  . ...  % 

The  Tribute  Money.  Sold  fat'  600  guineas  in  1840  . 

The  Constable  of  Bourbon  . . . . 


Dusseldorf. 

Munich. 

Munich. 

Harrach  Coll. 
Barton  Coll. 

The  Queen. 

Duivenvoorde. 

LiechtensteinColl. 

Dresden. 

G.  de  Rothschild. 
M.  Dannoot’s  Coll. 

Mi*.  Hamilton. 
The  Hermitage. 
Seillieres  Coll. 
Seillieres  Coll. 
M.H.  de  Kat  Coll. 
The  Hague. 

Mar.  of  Hertford. 

Dk.  Westminster 

Dresden. 

Seillieres  Coll. 
Oldenbourg. 

Sir  R.  Wallace. 
National  Gallery. 
M.  Carstanjen. 
Fesch  Coll. 

Norton  Coll. 

Earl  Cowper. 
Mr.Cholmondelej 
Baron  Harinxma. 

Berlin. 

Oldenbourg. 

Berlin. 

The  Hermitage. 
Hope  Coll. 

Ld.  Radstock. 


82 


CHRONOLOGICAL  LIST  OF 


Name  of  Painting. 

1645.  The  Burgomaster  Pancras  and  his  Wife.  Sold  for 

286  guineas  in  1816 

Portrait  of  a Lady  at  a Window  . ^ . 

Portrait  of  a Man,  seated , his  hands  on  a stick  . J 
Young  Woman,  leaning  on  a door.  Sold  for  £430 

m 1829  

^ Portrait  of  a Rabbi.  Sold  far  15, 100  francs  in  1857 
Landscape.  Mountains.  A Coach  going  over  a Bridge 

1646.  Abraham  receiving  the  Three  Angels.  Sold  for 

290  guineas  in  1820  

Same  subject,  differently  treated.  Half-life  size  + 
Adoration  of  the  Shepherds.  Sold  for  10,000 fr. 
^ Same  subject.  Tainted  for  the  Stadtholder  in  1646  . 

Holy  Family * 

The  Circumcision. 

Triumphal  Entry  of  a Roman  General  . 

Portrait  of  a Gentleman.  Sold  for  220  guineas 
Portrait  of  an  Old  Rabbi.  Engraved  by  W.  Baillie. 

1647  The  Resurrection  .■ 

to  Franchoise  van  Wassenhoven,  Widow  of  E.  Pappius, 
1649.  clergyman  at  Gouda.  Engraved. 

Counsellor  Nagel.  In  black , with  neck  bands  . 
Ephraim  Bonus,  descending  the  stairs 
Portrait  of  Claes  Berchem,  with  large  hat 
Portrait  of  his  Wife,  with  smooth  cap 
^ Portrait  of  Rembrandt,  at  forty  .... 

The  Good  Samaritan.  Eng.  by  Ben  on  and  Longhi 
The  Supper  at  Emmaus.  Sold  for  10,500  liv.in  1777 
Christ  at  Emmaus  ....... 

“ La  Concorde  du  Pays.”  ( The  Treaty  of  Munster.) 

Sold  for  £63  at  S.  Rogers’s  sale  in  1856 
Parable  of  the  Unmerciful  Servant.  Sold  at 

Stowe  far  £2,300  

Descent  from  the  Cross.  (En  grisaille)  . 

An  Old  Lady,  cutting  her  Finger-nails  . . * 

Portrait  of  Rembrandt.  Between  forty  and  forty -five. 
Portrait  of  Turenne,  on  horseback  .... 
Yertumnus  andPomona.  Sold  far  13, 7 00 francs  in  1777 
1650  The  Prophetess  St.  Anna.  Sold  for  1,861/r.  in  1767 
to  Samuel  taught  by  his  Mother,  Hannah  . . t 

1653.  Denial  of  St.  Peter  ......  t 


Possessor. 

Buckingham  Pal. 
Ridley  Coll. 

The  Hermitage. 

Dulwich  Gall. 
Berlin. 

Burger  Coll. 

Saunderson  Coll. 
The  Hermitage. 
National  Gallery. 
Munich. 

Cassel. 

Farrar  Coll. 
White  Coll. 

Augsburg. 


De  Burtin. 

J.  Six  Coll. 

Dk.  Westminster. 
Dk.  Westminster. 
Dresden. 

Louvre. 

Louvre. 

Copenhagen. 

Boymans  Coll. 

Sir  R.  Wallace. 
National  Gallery. 
Massaloff  Col. 
Leuchtenberg  C. 
Earl  Cowper. 
Hradschin  Coll. 
Bridgewater  Gall. 
The  Hermitage. 
The  Hermitage. 


REMBRANDT’S  PAINTINGS. 


98 


Name  of  Painting. 

1650  Lieven  Willems  yan  Coppenol,  at  fifty.  Sold 
to  for  1,500  limes  in  1784.  . . . . 

1653.  Portrait  of  a Young  Woman,  rising  from  bed  . 
Portrait  of  a Young  Man,  with  red  cap  . 

Landscape  with  Mountain  ....  * 

“ Noli  me  tangere.”  Etched  by  Unger  in  1869  . 

Admiral  van  Tromp.  Sold  for  17,100  francs  in  1832 
Portrait  of  a Rabbi  ...... 

Portrait  of  a Young  Man,  with  red  flat  cap 
Portrait  of  a Man.  Full  face , half-length 

Susannah  at  the  Bath 

Portrait  of  a Man,  about  sixty.  Said  to  be  Hooft  . 

1 654.  Bathsheba  receiving  the  Message  from  King  David. 

Sold  for  105  guineas  in  1837  . . . . 

Potiphar’s  Wife  accusing  Joseph  . . . f 

Woman  Bathing.  Engraved  by  Lightfoot 
v Portrait  of  an  Old  Rabbi.  Sold  for  1,500  livres  . 
Portrait  of  an  Old  Man,  with  a white  beard 
Portrait  of  a Woman.  Sold  for  1,380  livres  . 

An  Old  Woman,  said  to  be  Rembrandt’s  mother  } 

1655.  Christ  shown  to  the  People.  {En  grisaille.)  . 
Interior  of  a Stable,  with  a slaughtered  ox  hanging  . 
Portrait  of  Rembrandt.  Full  face , bust  only  . 

Portrait  of  a Man  in  Armour 

Portrait  of  Standard  Bearer  in  the  Civic  Guard  J 
Portrait  of  a Standard  Bearer.  Sold  for  800  guineas 

1656.  Jacob  blessing  the  Sons  of  Joseph  . . *$. 

St.  John  the  Baptist  Preaching.  Exhibited  at  Man- 
chester. Sold  for  40,000  francs  in  1845 

Parable  of  the  Labourers  in  the  Vineyard.  With- 
drawn at  25,500 francs  in  1864  .... 

Head  of  Christ.  (A  small  picture.)  .... 
The  Lesson  in  Anatomy  of  Dr.  Jan  Deyman, 
with  9 portraits.  Was  damaged  by  fire  in  1723,  and 
was  sold  in  London  for  660  francs  in  1842  ? 
Portrait  of  Dr.  Arnoldus  Tholinx.  Sold  for  25,000 fr. 
Portrait  of  a Man  seated,  with  a fur  cap  . 

Portrait  of  a Man  seated,  with  broad-brimmed  hat  . 
Burgomaster  Jan  Six.  Three-quarter  life  size 
Portrait  of  an  Old  Man,  holding  a pen  . . | 

Portrait  of  a Young  Woman.  Full-face,  life  size  $ 


Possessor. 

Ld.  Ashburton. 
Lady  Mildmay. 
Sir  R.  Wallace. 
Cassel. 
Brunswick. 

Hope  Coll. 
National  Gallery. 
Sir  R.  Wallace." 
Louvre. 

Mr.  Yates. 

Count  Brownlow. 

Louvre. 

The  Hermitage. 
National  Gallery 
Dresden. 
Dresden. 

Louvre. 

The  Hermitage. 
Lady  Eastlake. 
Louvre. 

Sir  R.  Wallace. 
Cassel. 

Cassel. 

J.  Rothschild. 
Cassel. 

Earl  Dudley. 

Stadel  Coll. 

M.  de  Saulcey 


Mr.  H.  Owen. 
M.  Andre. 
Cassel. 

Cassel. 

J.  P.  van  Six. 
Cassel. 

The  Hermitage. 


94 


CHRONOLOGICAL  LIST  OF 


Name  of  Painting. 

1656.  Portrait  of  a Man,  with  small  heard  and  moustache. 

^ Portrait  of  Rembrandt.  Bust.  . . 

Mountainous  Landscape,  with  Torrent 

1657.  The  Adoration  of  the  Three  Kings.  Withdrawn 

at  70,000 francs  in  1815 

^ Portrait  of  Rembrandt.  Holding  a Book. 

Portrait  of  Rembrandt.  Between  forty  and  fifty 
Portrait  of  Catherine  Hoogsaet,  or  Hoogh 
Portrait  of  a Young  Girl,  sitting  in  a red  arm-chair  $ 

1658.  Portrait  of  a Man.  Bust,  life-size 

Portrait  of  Bruyningh.  Engraved  by  Oortman  * 
Portrait  of  Rembrandt,  at  fifty.  Engraved  by  Caronni. 
Portrait  of  a Man,  perhaps  Thomas  Jacobsz  Haring. 

Sold  for  170,000  francs  in  1876  . . . . 

^ Portrait  of  an  Old  Rabbi,  with  large  hat  . 

^ Portrait  of  a Young  Man,  reading  and  thinking 
^ Portrait  of  Rembrandt,  with  thumbs  in  his  girdle  }* 
^ Portrait  of  Rembrandt.  Same  head , other  details  . 
1 659  Portrait  of  a Man,  with  grey  hair  and  hands  joined  . 

to  ^ Moses  breaking  the  Tables  of  the  Law  . 

1660^  Jacob  Wrestling  with  the  Angel  .... 
Portrait  of  Rembrandt,  with  grey  hair.  Sold  for  £78 
Portrait  of  Rembrandt.  Hf. -length.  Eng.  by  Boy  dell 

Ecce  Homo  ! Half  life  size 

St.  Francis  {or  a Franciscan  monk  reading  a roll). 
Very  old  Woman,  Rembrandts  grandmother  ? . 
Rembrandt,  when  old,  with  brushes  and  maulstick 
Portrait  of  Rembrandt,  standing , with  palette  and 
brushes.  Sold  for  9,450  francs  in  1828 
The  Philosopher,  sitting  at  a table  covered  with  papers 

1661.  The  Six  Syndics  of  the  Cloth  Hall.  All  por- 

traits. Etched  by  Be  Frey  ; and  by  TJnger  in  1876 
The  Circumcision.  At  Leeds  in  1868 
Christ.  (As aman  about  twenty-five.)  Sold for  13,000 fr. 

St.  Matthew 

Portrait  of  Jansenius.  Sold  for  £500  in  1831 
Portrait  of  a Man,  with  a knife  .... 
Portrait  of  an  Old  Man,  with  white  beard 
Portrait  of  an  Old  Man,  with  red  cassock  . $ 

1662.  Jan  Ziska  of  Trocznow,  with  his  Partisans,  swearing 

to  avenge  the  Death  of  Huss.  Etched  by  Waltncr 


Possessor. 

Leipsic. 

Brunswick. 

Buckingham  Pal. 
Dresden. 

Cassel. 

Edm.  Higgenson. 
The  Hermitage. 
Louvre. 

Cassel. 


J.  O.  Wilson. 
Vienna. 

Vienna. 

Vienna. 

Vienna. 

National  Gallery 
Berlin. 

Berlin. 

Bridgewater  Gall 
Lord  Carrington. 
Aschaffenburg. 

Lord  Overstone. 
Louvre. 

M.  of  Lansdowne. 
Dk.  of  Pourtales. 

Amsterdam. 

Earl  Spencer. 

Sir  B.  Codrington. 
Louvre. 

Lord  Ashburton. 
Mons.  Le  Perrier. 
Pitti  Palace. 

The  Hermitage. 

Stockholm. 


Rembrandt’s  paintings. 


95 


Name  of  Painting. 


Possessor. 


1662 

to 

1664. 


1666 

to 

1668. 


Portrait  of  a Man  and  his  Wife.  Sold  for  5,000  fr.  M.  Van  der  Hoop. 
Portraits  of  a Family.  Man,  wife,  and  three  children*  Brnnswick. 
Portrait  of  a Man,  sitting,  holding  a stick  in  his  hands  National  Gallery. 
Death  of  Lucrece.  Sold  for  110  guineas  in  1828  . J.  H.  Munro. 
Portrait  of  a Man,  with  a 'pistol.  Eng.  by  J.  O.  Maid. 

Lucrece,  holding  a poignard  in  her  right  hand  . . Sir  G.  Womb  well. 

Portrait  of  a Woman,  with  her  hands  crossed  on  a book  National  Gallery. 

Portrait  of  Jeremias  de  Decker,  poet  . . t The  Hermitage. 

Joseph  going  to  meet  his  Father,  Jacob  . . . M.  Perret. 

A Young  Man ,full  face;  with  a cap. 

Portrait  of  a Man,  said  to  be  Jan  Six  . . . Lord  Aylesford. 

Flagellation  of  Christ  Darmstadt. 

Rembrandt,  in  his  §0th  year , with  white  linen  turban. 

Rembrandt,  nearly  full  face,  with  black  velvet  hat  . Pitti  Palace. 
Rembrandt,  with  brown  hat,  and  the  hands  joined  . National  Gallery. 

Rembrandt,  laughing,  with  his  maulstick  in  his  hand. 

Etched  by  Jacquemart f M. Double. 


Omitted  by  Vosmaer. 

Christ  blessing  little  Children,  -f-  [Formerly  in  posses- 
sion of  Count  Schonborn  at  Vienna.\  . . . National  Gallery. 

1635.  Portrait  of  a Gentleman,  with  white  lace  collar  . National  Gallery. 
Landscape,  with  Tobias  and  Angels  . . . National  Gallery. 


EXHIBITED  AT  MANCHESTER  IN  1857. 


Preaching  of  St.  John  the  Baptist  ( unfinished ) 

Jacob’s  Dream 

Daniel  before  Nebuchadnezzar  ( doubtful ) 
Belshazzar’s  Feast.  ( Exhibited  at  Brit.  Inst,  in  1856) 
A Large  Landscape.  ( From  Coll.  ofMarq.  de  Fences) 

Dismissal  of  Hagar 

Noli  me  tangere  (1638).  Signed  and  dated  1638 
Landscape.  A plain  traversed  by  a river  . 

Samuel  and  Eli.  ( From  the  Verstolk  Coll.) 

Virgin  and  St.  Joseph  reading,  the  Child  in  a Cradle. 

{From  Mr.  Rogers'1  s Coll.)  ..... 

The  Unmerciful  Servant  (1646).  [Fromthe  Stowe  Coll.) 

Family  Portraits 

Portrait  of  a Woman 

Portrait  of  an  Old  Woman.  {From  the  Verstolk  Coll. ) 
Portrait  of  a Young  Man,  with  a turban  . 


Earl  Dudley. 
Viscount  Dillon. 
Lord  Scarsdale. 
Earl  of  Derby. 
Lord  Overstone. 
Earl  of  Denbigh. 
The  Queen. 

H.  T.  Hope. 

Earl  of  Craven. 

J.  W.  Brett. 
Marq.  of  Hertford. 
H.  T.  Hope. 

Dk.  of  Buccleuch. 
Lord  Overstone. 
R.  Napier. 


96 


LIST  OF 


Name  of  Painting. 

Portrait  of  a Man.  ( From  the  Stowe  Coll.) 

Portrait  of  a Standard  Bearer.  ( From  Reynolds's  Coll.) 
Portrait  of  an  Old  Man,  with  hat  on  . . 

Rembrandt,  at  thirty -six.  ( From  Baring  Collection ) 
A Young  Man,  in  Turkish  dress.  ( Dated  “ Rt.  1631  ”) 
Portrait  of  a Man  . 

Portrait  of  an  Elderly  Lady  . 

Portrait  of  a Lady.  Signed  and  dated  1642 
Portrait  of  a Lady.  [From  Pourtale’s  Sale) 

Portrait  of  the  Duchess  of  Lorraine 
Portrait  of  Rembrandt’s  Colour  Grinder  . 

Portraits  of  Jacob  Katz  and  the  Prince  of  Orange 
Jan  Pellicorne  and  his  Son  (1632)  . From  the 
His  Wife  and  Daughter  (1632)  . • Coll,  of  K. 

Jan  Pellicorne.  (Head  only.)  1643  of  Holland. 


Possessor. 

Earl  Dudley. 

Earl  of  Warwick. 
Lord  Scarsdale. 
Buckingham  Pal. 
Windsor  Castle. 
Dr.  Lee. 

Dr.  Lee. 

Samuel  Barton. 
Chas.  T.  Maud. 

E.  of  Yarborough. 
P.  Norton. 

Earl  of  Craven. 

Marquis  of 
Hertford. 


EXHIBITED  AT  LEEDS  IN  1868. 

Death  of  the  Virgin Dr.  Copeland. 

Solomon  in  the  Temple  ......  Sir  G.  Armytage. 

The  Circumcision  (1661)  .....  Earl  Spencer. 

Christ  disputing  with  the  Doctors.  Eng.  by  Hess  . M.  Anderson. 

Dr.  Deyman’s  Lesson  in  Anatomy  (1656)  . . H.  D.  Owen. 

Portrait  of  a Gentleman  ......  Mr.  R.  Napier. 

Portrait  of  a Lady Mr.  R.  Napier. 

Portrait  of  Rembrandt’s  Daughter  ....  Mrs.  Morrison. 
Portrait  of  an  Elderly  Man,  seated  in  a,  chair  . . Lord  Scarsdale. 

Head  of  an  Old  Man F.  Cook. 


AT  THE  EXHIBITION  OF  OLD  MASTERS 


at  the  Royal  Academy,  Burlington  House,  1870  to  1879. 


1870.  Gipsies  Reposing 

The  Salutation  of  the  Virgin  . 

Portrait  of  an  Old  Woman 
Landscape,  with  figures  fishing  with  a net 
Portrait  of  Nicolaas  Berchem  . 

Portrait  of  Wife  of  Berchem  * 

1871.  Portrait  of  a Burgomaster 

Portrait 

Portrait  of  a Man,  with  a hawk 


Sir  H.  Hoar. 

Dk.  Westminster. 
Lord  Overs  tone. 
Dk.  Westminster. 
Dk.  Westminster. 
Dk.  Westminster. 
Earl  of  Warwick. 
Lord  Ashburton. 
Dk.  Westminster. 


REMBRANDT’S  PAINTINGS. 


9* 


Name  oe  Painting. 


Possessor. 


1871.  Portrait  of  a Lady,  with  a fan 

Christ  Preaching  ...  ... 

Portrait  of  a Saint 

Portrait  of  a Burgomaster 

1872.  Portrait  of  Rembrandt.  Signed  and  dated,  1659 
Portrait  of  an  Aged  Lady.  Signed , but  no  date 

Portrait  of  Palelcan 

Portrait  of  his  Wife  and  Children  . 

Portrait  of  Rembrandt’s  Mother  .... 

1873.  Portrait  of  a Lady  opening  a Casement  . 

Portrait  of  a Shipbuilder  and  his  Wife  . 
Landscape.  Edge  of  a Forest,  Church  in  bach  ground 
Portrait  of  Carlotta  Adriani  ..... 
Portrait  of  a Lady,  with  a Parrot.  Signed  Caierina 

Hoogh, SAE.  T.  ’OYT.  50  JaerBembrandt.f.  1 657. 

1875.  Adoration  of  the  Magi 

Deposition  from  the  Cross.  Signed  and  dated  1650  . 
Portrait  of  an  Old  Lady 

1876.  Landscape.  A Forest  Scene 

St.  John  the  Baptist.  Signed  and  dated  1632 

Portrait  of  an  Old  Man 

Portrait  of  Admiral  Van  Tromp  .... 

1877.  Portrait  of  Rembrandt,  when  about  sixty,  holding 

brushes  and,  'palette 

Portrait  of  a Lady,  seated,  in  black  dress  and  white 
ruff,  and  holding  a small  clasped  book  . 

Potiphar’s  Wife  accusing  Joseph  .... 

J87£.  Still  Life.  Dead  Pea-fowl 

Rembrandt,  when  twenty -eight.  Signed,  dated  1635 
A Man,  with  large  black  hat  and  cloak  and  white  ruff 
A Jewish  Rabbi,  gold  embroidered  turban. 

A Jewish  Rabbi,  similar  to  the  one  above  described  . 
Rembrandt,  with  white  head-dress.  Signed,  dated  1661 
Landscape.  Known  as  Bembrandfs  Mill 
1873.  Twelve  Drawings,  from  various  contributors. 


Lk.  Westminster. 
Earl  Dudley. 

Earl  Dudley. 

Earl  Dudley. 

Dk.  of  Buccleuch. 
Dk.  of  Buccleuch. 
Sir  R.  Wallace. 
Sir  R.  Wallace. 
Earl  of  Hopetoun. 
Her  Majesty. 

Her  Majesty. 

W.  E.  Maitland. 
Francis  Cook. 

Lord  Penrhyn. 
Her  Majesty. 

Dk.  of  Abercorn. 
E.  of  Yarborough. 
Baroness  Coutts. 
W.  C.  Temple. 
Dk.  of  Devonshire. 
Mrs.  C.  Hanbury. 

M.  of  Lansdowne. 

Sir  Matt.  Wilson. 
Sir  J.  Neeld. 

W.  C.  Cartwright. 
E.  Portarlington. 
Mr.  H.  Willett. 

V isc.  Powerscourt. 
Dk.  of  Devonshire. 
Lord  Kinnaird. 

M.  of  Lansdowne. 


K 


CHRONOLOGICAL  LIST  OP  REMBRANDT’S 
ETCHINGS. 

THIS  List  is  taken  from  “ Rembrandt,  sa  Yie  et  ses  CEuvRES,”by 
Charles  Yosmaer  (second  edition,  La  Haye,  1877).  The  titles 
of  the  prints  are  from  the  “ Descriptive  Catalogue  oe  the  Etched 
Work  op  Rembrandt,”  by  the  Rev.  C.  H.  Middleton,  1878,  an 
exhaustive  and  very  trustworthy  book,  chronologically  arranged,  which 
gives  full  description  and  particulars  of  every  plate ; a few  notes  are 
added  from  this  work,  and  from  Mr.  E.  Seymour  Haden’s  monograph 
prefixed  to  the  Catalogue  of  the  Exhibition  of  Rembrandt’s  Etchings  at 
the  Burlington  Fine  Arts  Club  in  1877. 

The  number  placed  before  each  etching  refers,  except  when  otherwise 
stated,  to  the  Catalogue  given  by  Charles  Blanc,  in  his  well-known 
work  “L’CEuvre  Complet  de  Rembrandt”  Paris,  1859.  Ba.  refers  to 
Bartsch’s  list,  M.  to  Middleton’s. 

A few  additional  notes,  giving  the  prices  realized  at  four  of  the  most 
recent  sales  of  Rembrandt’s  etchings,  have  also  been  added,  viz. : — 
Firmin-Didot  Collection,  sold  in  Paris  in  1877  (marked  D). 

Duplicates  from  the  Cambridge  University  Collection,  sold  in  London 
in  1878  (marked  C). 

Danby  Seymour  Collection,  sold  in  London  in  1878  (marked  S). 

Rev.  J.  J.  Heywood’s  Collection,  sold  in  London  in  1878  (marked  H). 
But  it  must  be  remembered  that  these  prices  only  represent  the 
approximative  money  value  ; even  early  impressions  from  Rembrandt’s 
plates  presenting  considerable  variation  in  their  condition  and  quality. 

1628.  192.  An  Old  Woman’s  Head,  seen  only  to  the  chin.  ( Rembrandts 

mother  ?) 

193.  Head  of  an  Old  Woman,  lightly  etched*  {Rembrandts  mother?) 
252.  Head  of  a Woman,  on  the  right  side  of  the  plate.  ( Possibly  a 
sketch  for  the  preceding. ) 

1629.  230.  Rembrandt.  A bust.  {Supposed  to  have  been  engraved  on  pewter.) 


100 


CHRONOLOGICAL  LIST  OF 


A.D. 

1629. 


1630. 


1631. 


106  Ba.  St.  Jerome.  An  outline.  (Rejected,  by  Blanc,  doubted  by  Mid- 
dleton.') 

77.  St.  Jerome  seated,  with  a large  book.  [Accepted  with  hesitation  by 
Middleton.) 

24.  The  Presentation,  with  the  Angel.  [Simeon  in  the  Temple.) 

21.  The  Circumcision.  A small  upright  print. 

37.  Jesus  Christ  disputing  with  the  Doctors. 

129.  Two  Beggars,  a man  and  a woman,  coming  from  behind  a bank. 
128.  Two  Beggars,  a man  and  a woman,  conversing. 

133.  A Beggar  standing  to  the  left.  A small  upright  print. 

136.  A Beggar  sitting  on  a hillock,  with  his  mouth  open. 

155.  A Man  standing,  towards  the  right. 

260.  Portrait,  unknown,  of  a Man  with  a broad-brimmed  hat. 

265.  Head  and  bust,  full-face,  looking  from  behind  a wall. 

266.  An  Old  Man  sitting  on  a chair,  and  wearing  a high  cap.  ( Philon 

the  Jew.) 

272.  Profile  of  a bald  Man,  with  a jewelled  chain. 

273.  Profile  of  a Man,  bald-headed,  and  coarsely  etched. 

274.  Head  resembling  272.  [Smaller  and  more  stooping.) 

282.  An  Old  Man,  with  a large  beard. 

283.  An  Old  Man,  with  a large  beard,  the  shoulders  lower  than  the  ears 
285.  An  Old  Man,  a bust  shaded  only  on  the  right. 

226.  Rembrandt,  in  a fur  cap  and  light  dress. 

214.  Rembrandt,  with  an  air  of  grimace. 

204.  Rembrandt,  with  bushy  hair,  and  a small  white  collar.  [Mr.  Haden 

says  by  Van  Vliet.) 

217.  Rembrandt,  with  haggard  eyes. 

218.  Rembrandt,  a full  face,  laughing. 

219.  Rembrandt,  with  an  open  mouth. 

208.  Rembrandt,  with  a broad  nose. 

209.  Rembrandt,  a small  head,  stooping. 

205.  Rembrandt,  with  curly  hair,  rising  into  a tuft  over  his  left  eye. 

18  M.  Bust,  the  features  resembling  Rembrandt,  with  a jewel  in  his  cap. 

165.  Diana  bathing. 

168.  Danae  and  Jupiter. 

114.  Small  full-length  figure  of  a Beggar  in  a large  cioak. 

117.  The  Bathers.  [Middleton  reads  the  date  1651.) 

91.  The  Blind  Fiddler. 

108.  The  little  Polander. 

138.  Lazarus  Elap ; or,  the  Dumb  Beggar.  (D.,  lstf  state , 800  fr.) 

156.  A Woman  beneath  a tree. 


Rembrandt’s  etchings. 


101 


A.D. 

1631.  137. 


130. 

132. 

119. 

103. 

275. 

276. 
245. 
281. 
298. 
284. 
267. 
264. 
124. 
139. 
302. 

195. 

196. 

197. 

198. 
211. 


223. 
220. 
222. 
225. 
238. 
213. 
215. 
221. 

224. 
1632.  48. 


60. 

72. 

95. 

96. 

105. 

106. 


A Ragged  Peasant,  with  his  hands  behind  him.  ( Placed  by  Mid- 
dleton in  1635.) 

A Beggar,  with  a crippled  hand.  In  the  manner  of  Callot. 

A Beggar  Woman,  with  a leathern  bottle. 

Two  Venetian  Pigures. 

A Peasant,  with  his  hands  behind  him. 

Bust  of  a bald  Man,  with  his  mouth  open.  ( Doubted  by  Vosmaer J 
Bust  of  a bald-headed  Man,  with  a large  nose. 

An  Old  Woman,  wearing  a dark  head-dress,  with  lappets. 

Bust  of  an  Old  Man,  with  a long  beard.  ( Mr . Haden  thinks  by  Bol.) 
Head  and  Bust,  the  head  nearly  filling  the  upper  right  of  the  plate. 
Bust  of  an  Old  Man,  with  a large  beard.  A square  plate. 

A Man,  with  a short  beard  and  embroidered  cloak. 

Bust  of  an  Elderly  Man,  with  a cap  and  robe  of  fur. 

A Beggar,  sitting  in  an  elbow  chair. 

An  Old  Beggar  seated,  with  a dog  by  his  side. 

Bust  of  an  Old  Man,  in  a very  high  fur  cap.  ( Placed  by  Middleton 
in  1635.) 

Rembrandt’s  Mother,  in  a black  dress.  A small  upright. 
Rembrandt’s  Mother,  seated,  looking  to  the  right. 

Rembrandt’s  Mother,  in  a widow’s  dress.  (Not  in  Vosmaer .) 
Rembrandt’s  Mother,  her  hand  resting  upon  her  breast. 

Portrait  of  Rembrandt,  with  broad  hat  and  embroidered  mantle. 

(D.,  4 th  state , 600  fr.) 

Rembrandt,  with  a round  fur  cap,  full  face. 

Rembrandt,  with  bushy  hair.  {Plate  injured  with  the  acid' 
Rembrandt,  with  a fur  mantle  or  cape. 

Rembrandt,  with  a cap  and  robe  of  fur. 

Sketches,  with  a so-called  “ Head  of  Rembrandt.” 

Rembrandt,  with  very  small  black  eyes. 

Rembrandt,  in  a conical  cap.  In  an  oval. 

Rembrandt.  The  plate  an  irregular  octagon. 

Rembrandt,  with  a soft  round  cap.  (c  L’homme  a trois  crocs.’) 

The  Resurrection  of  Lazarus.  A large  print.  {Middleton  thinks 
partly  by  Van  Vliet ; Mr.  Haden  says  by  Bol  or  Lievens.) 

Jesus  Christ’s  Body  carried  to  the  Tomb.  (. Middleton , 1645.) 

St.  Jerome  kneeling.  An  arched  print. 

The  Rat  Killer. 

The  Rat  Killer.  An  injured  plate. 

The  Persian. 

A Man  on  Horseback. 


102 


CHRONOLOGICAL  list  of 


A.D. 

1632. 


1633. 


1634. 


246.  A Woman’s  Head.  (Rejected  by  Middleton.} 

174.  Portrait  of  Coppenol.  The  smaller  plate.  (Placed  by  Middleton  i?i 
1651.) 

332.  The  Cottage  with  the  White  Pales.  (Middleton  readsthe  date  1642.) 

94  M.  Head  of  an  Old  Man,  with  dark  eyes. 

25.  The  Flight  into  Egypt.  (Middleton  considers  this  was  a design  by 
Rembrandt,  completed  by  Bol. ) 

41.  The  Good  Samaritan.  (Vosmaer  suggests  that  the  design  was 
adapted  from  a print  by  Jan  Van  der  Velde  ; Middleton  thinks 
the  main  design  and  a large  part  of  the  work  are  by  Rembrandt. 
Mr.  Haden  assigns  the  plate  to  a pupil,  probably  Bol.) 

56.  The  Descent  from  the  Cross.  (S.,  2nd  state,  £11.)  (There  are  two 
etchings  of  this  subject ; the  first,  of  which  only  three  impressions 
are  known,  failed  in  the  biting,  and  was  probably  all  by  Rem- 
brandt. The  second  plate , which  is  nearly  of  the  same  size , and 
but  slightly  altered  in  design,  Middleton  believes  to  have  been 
partly  by  Van  Vliet ; Mr.  Haden  attributes  it  to  Lievens.) 

81.  Adverse  Fortune.  (Vosmaer considers  that  this  represents  the  His- 
tory of  St.  Paul.  The  etching  was  an  illustration  far  a book 
called  “ Der  Zee-vaertlof.”  Middleton  thinks  most  of  the  work 
was  by  a pupil,  perhaps  Bol.) 

186.  Portrait  of  Jan  Cornelis  Sylvius.  (S.,  1st  state,  12  fr.) 

191.  An  Old  Woman,  etched  no  lower  than  the  chin.  (Rembrandt’s 
mother .) 

229.  Rembrandt,  with  a scarf  round  his  neck. 

210.  Rembrandt,  in  a fur  cap  and  dark  dress. 

207.  Rembrandt,  with  the  Bird  of  Prey.  (Doubtful.) 

227.  Rembrandt,  with  bushy  hair  and  strongly  shaded.  (Doubtful.) 

11.  Joseph  and  the  Wife  of  Potiphar. 

17.  The  Angel  appearing  to  the  Shepherds.  A night  effect.  (C.,  4 th 
state,  £14 ; H.,  3rd  state,  £26.) 

46.  The  Samaritan  Woman  : at  the  Ruins.’ 

62.  Our  Lord  and  the  Disciples  at  Emmaus.  A small  print. 

140  and  141.  Two  designs  of  Beggars,  with  an  inscription  beneath  each. 

199.  Study  of  Saskia,  4 the  Great  Jewish  Bride.’  (C.,  4 th  state,  £16  ; 
D.,  1st  state,  4,005  fr.) 

239.  Study  for  the  Great  Jewish  Bride.  (Rejected  by  Middleton.) 

242.  A Young  Woman  reading. 

201.  Rembrandt’s  Wife,  with  pearls  in  her  hair. 

206.  Rembrandt,  with  moustaches  and  small  beard. 

212.  Rembrandt,  with  bushy  hair.  The  head  nearly  fills  the  plate. 


THE  COTTAGE  WITH  WHITE  PALES. 


Rembrandt’s  etchings. 


103 


A.D. 

1634. 


1635. 


237.  The  Head  of  Rembrandt,  and  other  studies.  ( Placed  by  Middleton 
in  1639.) 

231.  Rembrandt,  with  a drawn  sabre,  held  upright. 

232.  Portrait,  unknown,  of  a Man,  with  a sabre.  ( The  first  state  is  a 

three-quarter  length , the  second  state  is  an  oval.  Blanc  decided 
that  this  was  not , as  formerly  supposed,  a portrait  of  Bern 
brandt.) 

309.  Landscape,  with  a cow,  and  Ruins  by  the  Sea.  (. Middleton  assigns 
this  to  Philip  Konincle.) 

44.  Jesus  Christ  driving  out  the  Money-changers.  {The  figure  of  our 
Lord  is  copied  in  reverse  from  a woodcut  by  A.  Purer.) 

42.  The  Tribute  Money. 

68.  The  Martyrdom  of  St.  Stephen. 

73.  St.  Jerome,  kneeling. 

92.  The  Mountebank. 

93.  The  Pancake  Woman. 

162.  A Woman  sitting  upon  a hillock.  {Middleton,  1631.) 

190.  Portrait  of  Johannes  Uijtenbogaerd. 

173,  289,  288.  Three  Oriental  Heads.  {Middleton  suggests  that  these 
are  copied  by  Bembrandt  after  Lievens ; Mr.  Haden  considers  they 
are  all  by  Lievens. ) 

55.  The  Crucifixion.  A small  square  plate. 

90.  The  Travelling  Musicians. 

65.  St.  Peter  healing  the  Paralytic.  {Middleton  places  this  in  Bern 
brandfs  later  time,  1655.) 

107.  A Polander,  walking  towards  the  right. 

118.  A Polander,  turned  to  the  left.  A full-length. 

115.  An  Old  Man,  with  a bushy  beard.  A full-length. 

241.  The  White  Mooress.  ( Bejected  by  Middleton.) 

255.  A Young  Man,  in  a mezetin  cap. 

261.  A little  Bust,  a Man  with  a ruff  and  feathers.  {Placed  by  Mid- 
dleton in  1628.  Doubtful.) 

294.  An  Old  Man,  with  a short  straight  beard. 

123.  Two  small  Figures,  unfinished.  {Placed  by  Middleton  in  1628.) 

135.  A Beggar  warming  his  hands  over  a chafing  dish.  ( Middleton , 
1629.) 

301.  Grotesque  Head,  in  a high  fur  cap.  {Middleton,  1632.) 

270.  An  Old  Man,  with  a large  white  beard  and  fur  cap.  ( Middleton , 
1632.) 

280.  Old  Man,  with  a grey  beard.  ( Middleton , 1632.) 

244.  An  Old  Woman,  sleeping. 


104 


CHRONOLOGICAL  LIST  OF 


A.D. 


1635.  299. 
308. 


345. 
351. 
1636.  37. 


43. 


52. 


325. 

316. 

342. 

183. 

203. 

249. 

250. 

1637.  3. 
258. 
269. 

251. 

1638.  1- 
4. 
9. 

200. 

233. 

216. 

352. 


1639.  22. 

70. 
79. 


Grotesque  Head  of  a Man,  crying  out.  ( Middleton , 1632.) 

A Sheet  of  Sketches,  afterwards  divided  into  five.  ( Numbered  by 
Middleton  83  to  88.) 

A Landscape,  with  a hay  waggon.  (. "Rejected  by  Middleton.) 

Sketch  of  a Dog.  ( Doubtful . ) 

Jesus  Christ  disputing  with  the  Doctors.  ( Middleton  says  this 
is  dated  1630.) 

The  Prodigal  Son. 

Ecce  Homo.  ( Middleton  considers  the  original  composition , and  the 
more  important  part  of  the  work,  is  by  Rembrandt , but  that  he 
employed  an  assistant.  Mr.  Haden  says  the  plate  is  by  Lievens , 
after  Rembrandt’s  design.) 

An  arched  Landscape,  with  a flock  of  sheep.  (C. , 3rd  state,  £23  5 
S.,  3rd  state,  £50.  Middleton  places  this  landscape  in  1650.) 

Peasant  carrying  Milk  Pails.  (C.,  2nd  state,  £60  5 S.,  2nd  state 
£70.  Middleton  places  this  in  1650.) 

A House  by  the  side  of  a Canal.  ( Rejected  by  Middleton.) 

Portrait  of  Menasseh  Ben  Israel. 

Rembrandt  and  his  Wife. 

Rembrandt’s  Wife,  and  five  other  heads. 

Three  Heads  of  Women,  Saskia  at  the  top. 

Abraham  sending  away  Hagar  and  Ishmael.  (D.,  800  fr.) 

A Young  Man,  seated. 

An  Old  Man,  wearing  a rich  velvet  cap. 

Three  Heads  of  Women,  one  asleep. 

Adam  and  Eve. 

Abraham  caressing  Isaac. 

Joseph  telling  his  Dreams. 

The  St.  Catharine,  or  1 The  Little  Jewish  Bride.’  ( SasJcia , Rem- 
brandts wife.) 

Rembrandt,  in  a mezetin  cap  and  feather. 

Rembrandt,  in  a flat  cap,  and  slashed  vest. 

The  Little  Dog,  sleeping.  ( The  ls£  state  of  this  work  is  unique. 
The  etching  was  executed  in  the  upper  right  corner  of  a large 
plate;  for  this  the  British  Museum  gave  £120.  In  the  2nd  state 
the  plate  is  reduced  in  size , and  though  no  other  alteration  is 
made,  the  print  is  valued  at  a comparatively  small  sum.) 

The  Presentation  in  the  Vaulted  Temple. 

The  Death  of  the  V irgin. 

Youth  surprised  by  Death. 


REMBRANDT’S  ETCHINGS. 


105 


A.D. 

1639. 


1640. 


Btwn 

1632 

and 

1640. 


1641. 


189.  Wttenboogaert  (Uytenbogaerd),  called  ‘the  Goldweigher.’  (S., 
Is*  state , £72  ; D.,  1st  state,  6,500  fr.  Connoisseurs  have  agreed 
in  assigning  the  inferior  work  in  this  plate  to  another  hand, 
attributing  the  figwre  of  the  Receiver  to  Rembrandt. ) 

234.  Rembrandt  leaning  upon  a stone  sill.  (D.,-  ls£  state , 5,730  Jr.) 
101.  A Jew  with  a high  cap.  A full-length. 

116.  A Physician  feeling  the  Pulse  of  a Patient. 

40.  The  Decollation  of  St.  John  the  Baptist. 

12.  The  Triumph  of  Mordecai.  (S.,  £17.  Placed  by  Middleton  in  1651.) 
59.  The  Virgin  mourning  the  Death  of  Jesus. 

33.  A Holy  Family, c The  Virgin  with  the  Linen.’  ( Middleton , 1632.) 
54.  The  Crucifixion.  An  oval  plate.  ( Middleton , 1648.) 

202.  Rembrandt’s  Wife  dying.  [Of  the  date  of  1642.) 

121.  The  Skater.  (D.,  2,050  fr.) 

240.  A Young  Woman  with  a basket. 

271.  An  Old  Man,  with  a divided  fur  cap. 

346.  The  Bull.  [Middleton,  1649.) 

322.  The  Canal.  A landscape  of  irregular  form.  (C.,  £24  10s.  ; S., 
£26.  Middleton,  1652.) 

19.  The  Adoration  of  the  Shepherds.  A night  piece.  [Middleton,  1652.) 
27.  The  Flight  into  Egypt.  A sketch.  [Middleton,  1645.) 

30.  A Repose  in  Egypt.  A night  effect.  [Middleton,  1647.) 

77.  St.  Jerome  in  Meditation.  [Middleton,  1629.) 

103.  A Peasant,  with  his  hands  behind  him. 

122.  Two  Women  in  Separate  Beds,  &c. 

125  and  126.  Beggars  standing. 

127.  Three  Beggars : a man,  a woman,  and  a child. 

137.  A ragged  Peasant,  with  his  hands  behind  him. 

142.  A Beggar  with  a wooden  leg. 

268.  An  Old  Man  lifting  his  hand  to  his  cap. 

330.  An  Orchard,  with  a barn.  [Placed  by  Middleton  in  1648.) 

337.  A Landscape,  with  a cow  drinking.  [Middleton,  1649.) 

215  Ba.  The  Coach  Landscape.  [Rejected  by  Blanc;  attributed  by 
Middleton  to  P.  Koninck.) 

286.  Bust  of  an  Old  Man  asleep. 

328.  An  arched  Landscape,  with  an  obelisk.  (S.,  ls£  state  on  India 
paper,  £100.  Placed  by  Middleton  in  1650.) 

7.  Jacob  and  Laban;  or,  Three  Oriental  Figures. 

16.  The  Angel  ascending  from  Tobit  and  his  Family. 

32.  The  Virgin  and  the  Holy  Child,  in  the  clouds. 

69.  The  Baptism  of  the  Eunuch. 


106 


CHRONOLOGICAL  LIST  OF 


A.D. 

1641.  99. 

85. 

86. 

87. 

88. 
89. 

125. 

170. 

177. 

257. 

104. 

313. 

327. 

326. 

333. 

1642.  47. 
57. 
74. 


76. 

83. 

153. 
152. 

154. 
262. 

1643.  349. 
350. 
315. 

1644.  321. 

1645.  5. 
31. 

111. 

187. 

228. 

311. 

312. 
320. 
329. 
331. 


The  Schoolmaster. 

The  Star  of  the  Kings.  {Placed  by  Middleton  in  1652.) 

The  Large  Lion  Hunt. 

A Small  Lion  Hunt,  with  a lioness. 

A Lion  Hunt.  {A  companion  'piece  to  the  preceding .) 

A Battle  Scene. 

A Beggar  standing  and  leaning  upon  a stick.  {Middleton,  1630.) 
Portrait  of  Cornelis  Claesz  : Anslo. 

Portrait  of  a Boy,  half-length. 

Portrait  of  a Man,  with  a crucifix  and  chain. 

A Man  playing  Cards. 

A View  of  Amsterdam.  (D.,  700  fr. ; S.,  £16 ; H.,  £21.) 
Landscape  with  a Cottage  and  Dutch  Hay  barn.  (C.,  £26 ; 

D.,  1,420 /r.;  S.,£20.) 

Landscape,  with  a mill  sail. 

( Rembrandt’s  Mill.’  ( This  etching  was  at  one  time  supposed  to 
represent  the  birth-place  of  Rembrandt.) 

The  Resurrection  of  Lazarus.  A small  plate. 

The  Descent  from  the  Cross.  A sketch. 

St.  Jerome  writing,  seated  near  a large  tree.  {The  2nd  state  is 
dated  1648.) 

St.  Jerome  in  Meditation.  {In  Rembrandt? s ( darJc  manner?) 

The  Spanish  Gipsy.  (D.,  1,960/r. ; C.,  £56  ; S.,  £28  7s.) 

The  Piute  Player ; ‘ L’Espiegle.’ 

The  Friar  in  the  Corn-field. 

The  Shepherds  in  the  Wood. 

A Man  in  an  Arbour. 

Sketch  of  a Tree,  &c.  (C.,  £20.) 

The  Hog. 

The  Three  Trees.  (D.,  2,000  fr.  ; C.,  £60  ; S.,£130  ; H.,  £110.) 
The  Shepherd  and  his  Family. 

Abraham  conversing  with  Isaac. 

A Repose.  In  outline. 

An  Old  Man  resting  his  hands  upon  a book. 

Portrait  of  Jan  Cornelis  Sylvius.  An  oval. 

Rembrandt.  On  a high  and  narrow  plate.  {Middleton,  1658.) 
Six’s  Bridge ; a landscape  near  Hillegom.  (S.,  2nd  state,  £16. ) 
View  of  Omval,  near  Amsterdam.  (C.,  £41 ; D.,  950  fr.) 
Landscape,  with  a man  sketching. 

A Village,  with  a river  and  sailing  vessel.  (?  Hillegom.) 

The  Boat-house,  called  a “ Grotto.”  (S.,  ls£  state  on  India  paper 

£100.) 


CHRIST  DRIVING  OUT  THE  MONEY-CHANGERS. 


Rembrandt’s  etchings. 


107 


A.D. 

1646.  158. 
160. 
159. 
134. 
151. 

1647.  184. 

172. 

171. 

181. 

1648.  98. 
82. 
80. 


146. 

84 

157. 


235. 

145. 

147. 

148. 

149. 

150. 


1650.  75. 


64. 

353. 

253. 

■318. 


319. 

335. 

314. 


A Figure,  formerly  called  4 The  Prodigal  Son.’ 

A Man  seated  upon  the  ground. 

Academical  figures  of  Two  Men. 

An  aged  Beggar. 

Ledikant.  (D.,  2 nd  state , 3,01 0/r.) 

Portrait  of  Jan  Six.  (The  plate  is  in  the  possession  of  Mr.  Six,  of 
Amsterdam;  T).,2nd  state,  17,000  fr. ; S.,  3rd  state,  £220  10s.) 
Ephraim  Bonus.  (D.,  2nd  state,  1,550  fr.  5 C.,  2nd  state , £40  ; 

S.,  2nd  state , £101 ; H.,  2nd  state , £67.) 

Jan  Asselyn.  (D.,  Is*:  state,  1,000  fr. ; H.,  3rd  state,  £19  10s.) 
Doctor  J.  A.  Yan  der  Linden.  (Between  1647  and  1656.) 

A Jew’s  Synagogue. 

Medea  ; or,  the  Marriage  of  Jason  and  Creusa. 

An  Allegorical  Piece  : 4 the  Phoenix.’  (Middleton  reads  the  date 
1658;  D.,  2,820 /r.;  C.,  £112.) 

Beggars  at  the  Door  of  a House. 

Doctor  Faustus. 

Rembrandt  drawing  from  a Model.  (Mr.  Haden  thinTcs  that  the 
outlines  only  are  by  Bembrandt,  and  that  it  was  completed  by  Bol. 
Middleton  differs .) 

Rembrandt  drawing.  (D.,  5 th  state,  £1,000  fr.) 

Two  Beggars,  a man  and  a woman,  side  by  side.  ( Placed  by 
Middleton  in  1629.) 

Two  Beggars ; a half-length  and  a head.  (Middleton,  1629.) 

The  Sick  Beggar  and  his  Wife.  (Rejected  by  Middleton.) 

A Dealer  in  Old  Clothes.  (Middleton,  1629.) 

A Beggar  by  the  Roadside,  a woman  in  the  distance.  (Middleton, 
1629.) 

St.  Jerome;  an  unfinished  piece.  (C.,  2nd  state,  £29  10s.;  S., 
2nd  state,  £30;  H.,  2nd  state,  £36.  Mr.  Haden  says  that  this  is 
after  a drawing  by  Titian .) 

Jesus  Christ  appearing  to  His  Disciples. 

The  Shell  or  4 the  Damier.’  (S.,  2nd  state,  £50  8s.) 

A Young  Man  with  a Game  Bag.  (Rejected  by  Middleton.) 

The  Three  Cottages;  or  a Village  near  the  High  Road,  arched. 
(D.,  3rd  state,  1,000  fr. ; C.,  3rd  state,  £12  5s. ; S.,  3rd  state, 
£16  ; H.,  2nd  state,  £24.) 

A Village,  with  a square  tower;  arched.  (D.,  610  fr. ; C.,  3rd 
state,  £10  10s. ; S.,  2nd  state,  £12.) 

Landscape,  with  a canal  and  swans. 

The  Sportsman.  (C.,  £36;  S.,  2nd  state , £12;  H.,  £18. 

Middleton,  1653.) 


A.D. 

1650. 


1651. 


1652. 


1653. 

1654. 


108  CHRONOLOGICAL  LIST  OF 

336.  Landscape,  with  a canal  and  large  boat. 

324.  Landscape,  with  a ruined  town  and  clear  foreground.  (S.,  3rd 
state,  £36  ; H.,  4th  state,  £35  10s.  Middleton,  1648.) 

49.  Jesus  Christ  healing  the  Sick.  cThe  Hundred  Guilder  Print.’ 
( Palmer  sale , 1867,  lszf  state,  £1,180;  D.,  2nd  state , 8,550  fr. ; 
S.,  3rd  state,  £17  ; seep.  63.) 

(The  plate  of  this  etching  came  into  the  possession  of  Captain 
Baillie,  who  re-worlced  it.) 

65.  St.  Peter  and  St.  John  at  the  Gate  of  the  Temple.  (Middleton, 
1655.) 

287.  An  Old  Man  sitting  at  a table.  (Rejected  by  Middleton.) 

317.  The  Two  Houses  with  Pointed  Gables.  (Middleton  attributes  this 
to  P.  Koninck.) 

250.  Ba.  The  House  with  Three  Chimneys.  (Rejected  by  Blanc  and 
Middleton.) 

15.  Tobit  blind,  with  the  dog. 

14.  Tobit  blind,  seen  from  behind.  (Middleton  places  this  in  1630.) 
26.  The  Flight  into  Egypt.  A night  effect. 

180.  Clement  de  Jonghe.  (C.,  ls£  state  on  India  paper,  £33  ; H.,  1st 
state,  £23.) 

334.  The  Goldweighers’  Field.  (D.,  1,110/r. ; C.,  £56  ; S.,  £49  7s.) 
13.  King  David  on  his  knees. 

36.  Jesus  disputing  with  the  Doctors.  The  larger  plate. 

39.  Jesus  Christ  preaching.  ‘ The  little  La  Tombe.’  (C.,  £14  ; 
S.,  2nd  state,  £13  13s.; 

120.  Three  Peasants  travelling.  (Middleton,  1639.) 

323.  Landscape,  with  a Vista.  (C.,  3rd  state,  £22  ; S.,  3rd  state,  £34  ; 
H.,  3rd  state,  £20  10s.) 

338.  Landscape,  with  an  old  square  tower.  (One  impression  only  is 
known.  Rejected  by  Middleton.) 

20.  The  Circumcision,  with  the  cask  and  net. 

18.  The  Nativity. 

28.  The  Flight  into  Egypt : the  Holy  Family  crossing  a rill. 

29.  The  Flight  into  Egypt.  ‘ In  the  manner  of  Elzheimer.’  ( Vosmaer, 

and  afterwards  Middleton,  state  that  this  plate  was  originally 
etched  by  Hercules  Seghers,  after  an  engraving  by  the  Count  de 
Goudt,  in  imitation  of  a picture  by  Elzheimer , th,e  subject  being 
Tobias  and  the  Angel.  The  plate  fell  into  Rembrandt's  hands, 
he  erased  the  figures,  and  in  their  stead  substituted  the  Holy 
Family,  adding  foliage.) 

34.  The  Holy  Family  ; with  the  Serpent. 

35.  Jesus  Christ  disputing  with  the  Doctors.  A smaller  print. 


REMBRANDT’S  ETCHINGS. 


109 


A.D. 

1654.  38. 

58. 

61. 

63. 

71. 


94. 
97. 
236. 
1655.  8. 


50. 
6. 

51. 
53. 


67. 

179. 

178. 

176. 

1656.  2. 
182. 
188. 

1657.  78. 

23. 

45. 


Jesus  and  His  Parents  returning  from  Jerusalem.  (C.,  £20  10s.; 
S.,  £19  19s.) 

The  Descent  from  the  Cross.  A night  piece. 

Jesus  Christ  Entombed.  (S.,  ls£  state , £18.) 

Our  Lord  and  His  Disciples  at  Emmaus. 

St.  Jerome  reading,  at  the  foot  of  a tree.  {Middleton  says  that 
the  date  is  1634,  and  considers  that  much  of  the  work  was  by  a 
pupil,  probably  Bol.) 

The  Little  Goldsmith. 

The  Game  of  Golf. 

Portrait  of  Titus,  Rembrandt’s  son. 

Pour  prints  for  a Spanish  book,  bj  Menasseh  Ben  Israel,  entitled 
4 Piedra  Gloriosa.’  {The  subjects  are — the  Statue  seen  by  Nebu- 
chadnezzar in  his  Bream  ; the  Vision  of  Ezekiel ; Jacob's  Ladder; 
and  the  Combat  of  David  and  Goliath .) 

Jesus  Christ  in  the  Garden  of  Olives. 

Abraham’s  Sacrifice. 

Our  Lord  before  Pilate.  (D.,  ls£  state,  2,905  fr. ; S.,  3rd  state , £42.) 

The  Three  Crosses  ; Our  Lord  crucified  between  the  two  thieves. 
A large  print.  (D.,  ls£  state,  7,050 fr. ; C.,  4 th  state,  £24 ; S., 
4th  state,  £14  105.) 

{The  composition  in  the  4th  state  of  this  etching  shows  con- 
siderable alteration,  and  the  whole  is  much  obscured.  Middleton 
does  not  consider  that  any  part  of  the  work  which  distinguishes 
this  state  was  executed  by  Bembrandt.  Mr.  Haden  believes  that 
the  time  of  the  darkness  is  represented,  and  that  this  state  is  far 
the  finest  in  effect.) 

St.  Peter.  {Middleton places  this  in  1645.) 

Thomas  Jacobsz:  Haring,  known  as  4 Young  Haring.’  (D.,  2 nd 
state,  1,400  fr. ; S.,  2 nd  state,  £10.) 

Jacob  Haring,  known  as  4 The  Old  Haring.’  (D.,  2,900  fr. ; S., 
£325  10s.) 

Abraham  Erancen. 

Abraham  entertaining  the  Angels. 

Johannes  Lutma.  (D.,  2nd  state,  3,900 fr.) 

Dr.  Arnoldus  Tholinx.  (D.,  1,120  fr.,  a weak  impression .) 

St.  Francis,  praying.  (D.,  2nd  state , 2,400  fr. ; S.,  2nd  state 
£31  10s.) 

The  Presentation  in  the  Temple.  In  Bembrandt' s 4 dark  manner  .’ 
{Middleton,  1653.) 

Jesus  and  the  Samaritan  Woman ; an  arched  print.  {Middleton, 
1654.) 


110 

A.D. 

161. 

1658.  163. 
164. 
169. 

1659.  167. 

66. 

343. 

1681.  166. 
175. 


REMBRANDT’S  ETCHINGS. 

A Woman  sitting  before  a Dutch  stove.  (D.,  2nd  state,  870  fr. ; 
C.,  3rd  state,  £28.) 

A Woman  preparing  to  dress  after  bathing. 

A Woman,  with  her  feet  in  the  water. 

A Negress  lying  down. 

Antiope  and  Jupiter.  (D.,  ls£  state,  980  fr. ; C.,  lsz!  state,  £23.) 
St.  Peter  and  St.  John  at  the  Gate  of  the  Temple. 

A Landscape,  with  palisades.  {Rejected  by  Middleton.) 

The  Woman  with  an  Arrow.  (S.,  3rd  state,  £19  195.) 

Portrait  of  Coppenol.  A large  plate.  {Middleton,  1658.  S.,  3rd 
state,  £44  ; H.,  4 th  state,  £39.) 


The  following  etchings  are  considered  by  Yosmaer  as  of  uncertain  date  ; 

the  dates  in  parentheses  are  those  given  by  Middleton. 

100.  The  Draughtsman  (1641). 

243.  A Woman  in  a Veil;  the  lower  part  of  the  plate  an  irregular 
oval  (1631). 

246.  An  Old  Woman’s  Head.  {Rejected  by  Middleton .) 

248.  An  Old  Woman  Reading  (1641). 

256.  Bust  of  a Young  Man ; lightly  etched  (1651). 

259.  A.  Man,  with  curling  hair,  his  under  lip  thrust  out  (1635). 

263.  Bust  of  a Man,  turned  to  the  left,  with  an  action  of  grimace  (1631). 
278.  Man,  with  a large  beard  and  low  fur  cap  (1631). 

290.  Bust  of  an  Old  Man,  in  profile  ; to  the  right.  {Part  of  a sheet  of 
sketches  1631.) 

295.  A Man’s  Head.  {Rejected  by  Middleton.) 

296.  Small  Head,  with  a high  mis-shapen  cap  (1631), 

300.  Head  of  a Bald  Old  Man,  inclined  to  the  left  (1632). 

303.  Three  Profiles  of  Old  Men  (1629). 

304  and  305.  Profiles  of  Old  Men.  {Unique.  In  the  collection  at  Am- 
sterdam. Rejected  by  Middleton.) 

306.  Old  Man,  with  a pointed  beard.  {Rejected  by  Middleton .) 

307.  Head  of  a Man,  with  curls  and  moustache.  ( Rejected  by  Mid- 

dleton.) 

310.  A Large  Tree  and  a House.  An  early  morning  effect  (1640). 

339.  Landscape,  with  the  figure  of  a little  man.  {Rejected  by  Middleton .) 
341.  A Fisherman,  in  a boat.  ( Rejected  by  Middleton .) 

347.  The  Village  Street.  {Rejected  by  Middleton .) 

348.  A.  Copse  and  Paling,  with  studies  of  a horse,  &c.  {Only  three 

impressions  of  this  etching  are  known,  viz.,  one  in  the  British 
Museum ; one  in  the  Fitzwilliam  Museum,  Cambridge  ; the  third, 
among  the  c duplicates ' in  the  Cambridge  Collection , was  sold  in 
1878  for  £305.) 


INDEX. 

( The  Names  of  Pictures  and  Etchings  are  in  Italic.) 


Angels  Appearing  to  the  Shepherds 
(Etching),  31. 

Anslo,  Cornelius , and  his  Wife , 38. 
Amsterdam,  Bloemgracht,  9,  21. 
Amsterdam,  in  1630,  18. 
Amsterdam,  in  1655,  70. 

Bathsheha , Toilet  of,  52. 

Bonus , Ephraim  (Etching),  59. 
Bramer,  Leonhard,  15. 

Christ  Healing  the  SicJc  (Etcg.),  62. 
Coppenol,  Lievens  van,  5. 

Bay,  Martin , 30,  84. 

Bay,  Madame , 53,  84. 

Beath  of  the  Virgin  (Etching),  37. 
Descent  from  the  Cross,  30,  61. 
Bomer,  Jan  ( Le  Boreur),  38. 

Dou,  Gerard,  8,  30. 

Ecce  Homo  (Etching),  34. 
Elzheimer,  9,  16. 

Good  Samaritan,  25,  60. 

Grebber,  Pieter  de,  13. 

Haarlem,  14. 

Hals,  Frans,  7,14. 


Haring,  the  elder,  66. 

Honthorst,  Gerard,  13. 

Household  of  Joseph  and  Mary,  22. 
Hundred  Guilder  Print  (Etching), 
62. 

Huygens,  Mauriiz,  24. 

Keizerskroon,  The,  69. 

Eastman,  Pieter,  7,  16,  21. 

Lesson  on  Anatomy,  23. 

Leyden,  Description  of,  1 . 

Leyden,  Historv  of,  81. 

Lievens,  Jan,  20. 

Moeyart,  Nicolaes,  20. 

Night  Watch , The,  42. 

Orlers,  Jans,  4,  7. 

Pellicorne,  Jan,  24. 

Ravestyn,  J.  van,  14. 

Rembrandt,  Birth,  3. 

At  Amsterdam,  21. 

Marriage,  28. 

Death  of  his  Mother,  36. 
Buys  house  inBreedstraat.37. 


112 


INDEX. 


Rembrandt,  continued. 

Home,  46. 

Death  of  his  Wife,  50. 
Portraitsof  himself,  51,72, 76. 
His  house  sold,  69. 

House  on  Rosengracht,  69, 74. 
Marriage  of  Titus,  78. 

His  own  Death,  79. 
Resurrection  of  Lazarus  (Etcg.),25. 
Roghman,  Roeland,  21. 


Sylvius,  Jan  Cornelis,  55,  84. 
Syndics  of  the  Cloth  Hall,  72. 

Three  Trees,  The  (Etching),  54. 
Titus  van  Ryn,  36,  69,  78. 

Tulp,  Dr.  Claes  Pietersz,  23. 

Ulenburgh  Family,  84. 
TJytenboqaerd,  The  Gold  Weiqher 
(Etching),  37. 


Saskia  van  Ulenburgh,  26,  28,  36. 
SasJeia,  28,  29,  30,  39. 

Shipbuilder,  The,  26. 

Simeon  in  the  Temple,  2 1 . 

Six , Jan,  Burgomaster , 57,  59. 
Sortie  of  Banning  CocJc,  42,  43. 
Stoffels,  Hendricktie,  70. 
Swanenburgh,  Jacob  van,  5,  7. 


Vliet,  Jan  van,  20. 

Vondel,  17,  58,  60. 

Woman  taken  in  Adultery,  54. 
Wyck,  Catharina  van,  74. 

Zomer,  Jan  Petersen,  63. 


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ENGLISH  PAINTERS. 

By  F.  S.  PULLING,  M.A, 

SIR  JOSHUA  REYNOLDS.  From  the  most  recent  authorities.  Illustrated  with 
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OVERBECK:  a Memoir.  Comprising  his  Early  Years  in  Liibeck,  Studies  at  Vienna,  and 
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By  J.  W.  MOLLETT,  B.A.  VnfrcfaratU.. 

Mc-ISSONIER:  A Memoir.  Illustrated  with  Engravings  from  the  Chess  Players— La  Eixe 
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